Author’s note: This is the third post in a series highlighting “common players” with stories far richer than the value of their trading cards. The first post in the series profiled Dave Hoskins and can be found here.The second post in the series profiled Ernie Barnes and can be found here.
The 1933 Goudey set is well known for its wealth of superstars, including four cards of the Bambino, two cards of the Iron Horse, and a litany of top-shelf Hall of Famers such as Ott, Speaker, Foxx, Hornsby, Grove, and (if you count him) Lajoie.
Collectors can therefore be forgiven if they aren’t impressed when stumbling upon card 184 in the set, that of Chicago White Sox catcher Charlie Berry.
The card was issued as part of Goudey’s seventh series (of ten in all), which I estimate as having come out in late August or early September 1933. The green Ruth #181 card would have likely been the prize for most kids, the other main highlight of the series being (generously) Hornsby’s crosstown update from Cards infielder to Browns skipper.
The card front was about as generic 1933 Goudey as could be (not that this is a bad thing!), featuring a solid yellow background reminiscent of Ruth’s card 53 and a waist up batter’s follow-through common to the set.
It would require some serious pre-internet knowledge of sports history, close proximity to Pottsville, Pennsylvania, or reading the back to know there was more to Berry than batting and backstopping.
Yes, Berry was one of the “mythical eleven” in 1924, a football All American at Lafayette College in Easton, Pennsylvania, and (if I’m understanding how all this works) a Walter Camp first-teamer, an honor shared with gridiron legend Red Grange and among others.
Berry starred the next two seasons for the Pottsville Maroons of the fledgling National Football League, leading the league in scoring in 1925 and captaining an upset of the presumed top team in the country, an all-star team from Notre Dame that included its famed “Four Horsemen.”
Remarkably, the Pottsville squad included a second member of the 1933 Goudey set, Walter French.
Now mind you I’m by no means a football historian, but my sources (okay, source singular: Wikipedia!) tell me this was the game that put the NFL on the map. While the game catapulted the league to greater heights, Pottsville received anything but a thank you from the commissioner’s office.
On the contrary, the exhibition game was deemed a serious enough violation of league rules that Pottsville was stripped of its 1925 NFL championship and the Chicago Cardinals squad led by another 1933 Goudey alum took top honors.
Down the pecking order of consolation prizes a bit, the team did however earn a trading card set, maroon tint and all! The back of the set’s second card, “The Symbolic Shoe,” provides as strong evidence as you’ll find anywhere that Pottsvillians want that TITLE RESTORED!
This same set includes a card of Berry himself, and again the Zacko family is just not having that whole stripped title thing!
Berry collectors can also delight in knowing there was surprisingly (to me anyway!) a set produced in 1924 of the Lafayette Leopards college football team.
Sadly the set did not include Berry’s Lafayette (and future White Sox!) teammate Frank Grube, who would have to wait until 1935 to appear in the same set with Berry.
But enough about Charlie Berry the player. Let’s move on to what he did even better! For that, we’ll fast forward two decades to the 1955 Bowman set and the subset collectors love to hate.
Same guy? Yep, same guy!
In fact, if you were lucky enough to be at the Polo Grounds for “The Catch,” that first base umpire you might have booed was none other than the Pottsville Maroon legend.
Coincidentally, Berry was not the only umpire that day with cards in both the 1955 Bowman and 1933 Goudey sets. The Arkansas Hummingbird had an even better view of the catch as left field umpire that day.
Berry’s presence at the 1954 World Series was no fluke. He also worked the World Series in 1946, 1950, 1958, and 1962 for a total of 29 World Series games in all. Though I’m not exactly picketing Cooperstown or holding any bronze shoes hostage pending his enshrinement, I do think a strong Hall of Fame case could be made for Berry as an umpire.
However, Berry’s story doesn’t end there. Charlie Berry was also the Bo Jackson of officiating, racking up a borderline Hall of Fame resume working NFL games as well. His NFL head linesman resume included twelve (!) championships, highlighted by a critical call in the “Greatest Game Ever Played.”
Is it possible then that this “common player” from the 1933 Goudey set, whose card is readily found in decent shape for about $25, was perhaps the greatest sports official of all time as well as the player that put the NFL on the map? Might he even have two cases for induction, one for Cooperstown and one for Canton? And, as importantly, will the Zacko family finally donate that bronze shoe?
Edward Charles Ford, who passed away October 8 at the age of 91, was a Hall of Famer; World Series hero; Chairman of the Board; social companion of Mickey Mantle and Billy Martin; “Slick” to manager Casey Stengel. But to generations of Yankee fans he was simply, “Whitey.”
From the moment Ford joined the World Champion New York Yankees in midseason 1950, he was a trailblazer. He won his first 9 decisions and steadied a rotation that featured Allie Reynolds, Vic Raschi, Ed Lopat and Tommy Byrne en route to a World Series victory over the Philadelphia Phillies and their “Whiz Kids.”
A legendary competitor, the crafty lefty was the ace of the great Yankees dynasties of the 1950s and 1960s. According to the Baseball Hall of Fame website, Ford was the team’s Game 1 starter in every World Series from 1955-1958, becoming the first pitcher in history to start four consecutive Game 1s. Ford repeated the feat again from 1961-1964.
A 10x All-Star, Ford led the league in wins three times, twice in earned run average and won a Cy Young Award in 1961. With a record of 236 -106, he owns the highest winning percentage (.690) in history.
As he lived in October, it stands to reason that Ford set numerous World Series pitching records, including consecutive scoreless innings (33 2⁄3), wins (10), losses (8) games started (22), innings pitched (146) and strikeouts (94). He was a six-time World Series champion and a World Series MVP recipient in 1961.
When it came to baseball cards, Ford was equally iconic. After his exploits of 1950, the Bowman Gum Company honored the rookie by designating him card No. 1 in its 1951 Bowman baseball card set – the same set that features the rookie card of Mickey Mantle.
Ford, however, would miss the next two full seasons by fulfilling his military obligations as noted by the back of Ford’s 1953 Bowman Color baseball card.
“The return of Whitey from Uncle Sam’s service to the Yankee mound staff is looked upon by delight from everybody to the President down to the bat boy. He’s a great young pitcher, and if can pitch as he did before he left for his service hitch, he’ll be a tremendous help to the Yanks in their quest for a fifth straight pennant.”
1953 Bowman Whitey Ford card back
However, Ford didn’t miss a beat on his return to the majors. Winning 18, 16, 18 and 19 games in his next four seasons.
It was the mid-1950s and Ford was enjoying himself and the New York City nightlife with Yankee teammates Mantle and Billy Martin – a trio that earned the nickname, “The Three Musketeers.”
Bill Pennington, author of “Billy Martin: Baseball’s Flawed Genius” wrote that one of the Musketeers (Martin) was painted as a ringleader; taking most of the blame when things went wrong. The claim was refuted by Ford himself in the book.
“I don’t know why Billy always got labeled the instigator, which wasn’t at all true,” Ford said. “Mickey just had that innocent, country-boy look and I was quiet about a lot of things in public. But Billy didn’t care about appearances and he had that mischievous grin, so people just thought he was stirring us up all the time. It wasn’t really the case. We got into plenty of trouble on our own.”
Trouble like the infamous Copacabana incident in 1957 when several Yankees, including Mantle, Ford, and Martin as well as Hank Bauer and Johnny Kucks, were involved in an early morning altercation at the famed New York City nightclub.
The next morning’s headlines in the New York papers were scandalous at the time: “It Wasn’t A No-Hitter” screamed a headline in the New York Journal-American. Soon after, Yankee brass banished “ringleader” Martin, who was traded to Kansas City.
Nonetheless, the Yankees would continue their pennant-winning ways with Ford leading the way into the World Series– except the one time he didn’t.
In 1960, as the Yankees were preparing to play the Pittsburgh Pirates, Stengel surprised many by opting to start journeyman Art Ditmar in Game 1 in favor of Ford, who was already a dominant post-season performer. Skipping Ford in Game 1 meant the lefty would be unable to pitch three times if the series went the distance. The move backfired horribly. Not only did Ford pitch brilliantly – hurling two shutouts in Games 3 and 6 – but the Pirates jumped on Ditmar each time he pitched in the series. In fact, Ditmar never made it out of the second inning in either start. The Pirates won the series in seven games. The decision was heavily criticized and cost Stengel his job as Yankee manager.
Meanwhile, Ford would win the Cy Young Award the following year in that magical 1961 season and go on to pitch well into the 1960s, even as those Yankees teams began to falter as their stars like Mantle began to age.
Interestingly, Ford lost his last four World Series starts – Game 5 against the 1962 Giants, Games 1 and 4 (opposing Sandy Koufax each time) against the 1963 Dodgers, and Game 1 versus the 1964 Cardinals.
Ford was enshrined in Baseball’s Hall of Fame in 1974, five years before I started following baseball. Very quickly, however, I came to understand Ford’s place in Yankee history – mostly through my baseball card collection as well as his appearances at Yankees’ Old Timer’s Day. As is customary with the event, the greatest players are honored with getting introduced last. And when you’re talking New York Yankees, that’s quite a pecking order: Berra, Mantle and DiMaggio.
Years later with legends like Mantle and DiMaggio no longer around, it was time for Ford to receive the honors and accolades.
In 2010 – the last time I attended an Old Timer’s Day at Yankee Stadium – I paid strict attention to the moment when Ford and Berra were introduced. Understanding that this might be the last I would ever see them, I fixated only on them. I stood silently and took in their every movement, smile and wave as they rode in from the centerfield gate in a tricked-out golf cart (complete with Yankee pinstripes). “Remember this moment. That’s Yogi and Whitey.”
When I visit Yankee Stadium with my sons, we dutifully pay a visit to Monument Park and read the plaques of the legends. Like Whitey Ford.
I have been reading about or studying the integration of baseball for many years, at first principally because I wanted to write about the effect that integration had on the quality of the game. Obviously if you add Jackie Robinson to a league, that league is not just ethically and morally better, the quality of play is also better. Much better. I mean, this is JACKIE ROBINSON for God’s sake. And then Doby, and Campy, and Irvin, and on and on.
Jackie Robinson and the extraordinary cohort of people who integrated the game in the 1940s and 1950s will always be baseball’s best story, one that can not be over-told. We (myself included) have been guilty of treating this story as a culmination rather than as an important chapter in an ongoing struggle. Today’s decreased number of Black American players, to say nothing of managers and executives, is one constant reminder of progress yet to be made. Another are the tales of just how difficult the lives of black players can be in today’s Major League Baseball. Like the rest of America, baseball has a long, long way to go.
Additionally, my integration-era research has led to collateral damage in my relationship with Jim Crow (pre-1947) baseball, and its cards. I still appreciate the history, and the stories, and I understand how great Wagner, Cobb, Ruth, and DiMaggio were, but the stories are a little less romantic, and maybe the players were all a little less great than I thought. It’s the other side of same coin–you can’t believe that Robinson, Mays and Aaron made the game significantly better without also believing that not having them made the game significantly worse.
For Christmas in 1981, I was given a beautiful 1982 calendar which I believe had been advertised in the New Yorker. With brief exceptions, it has hung on a wall in my dorm/apartment/house/office for the past 38 years–it is six feet away from me as I type. (In 2021, for the first time since 2010, the days will align.)
Its 12 pages tell the story of baseball cards chronologically–January is for 19th century tobacco cards, while the last row of December shows 1981 Topps. If you lay the calendar on a table and flip through months (the only way to really do it–the pages are 22″ x 14″), you get a high level view of 100 years of the hobby. And of Major League baseball.
What the calendar also shows, visually and starkly, is Jim Crow: page after page, row after row, of White dudes.
The first Black face belatedly shows up in August, in the penultimate row, appropriately the 1949 Bowman Satchel Paige. The final August row features 1951 Topps, and includes both Monte Irvin and Luke Easter. These three men were the 7th, 10th, and 11th Black players in the Major Leagues in the 20th century. There are four more Black faces on the page for September, which highlights the 1951 and 1952 Bowman sets.
My calendar almost always (as now) is hung so as to display October. I don’t know if it was deliberate on the part of the designer, probably not, but October’s top row is like a punch in America’s face, and the next three rows don’t really let up.
Here is a thought experiment. Imagine seeing a binder of 1956 Topps cards, except that all of the Black players have been removed. No Mays, no Aaron, no Jackie, no Banks, no Clemente, no lots of other stars. There are still great players in the binder–Mantle, Williams, Koufax, Feller, and more–but its obviously a worse group than the real set. Not just a little worse, immeasurably worse.
In other words, it would be … just like 1934 Goudey. Or 1940 Play Ball. Or T-205. Looking through that denuded 1956 binder would be at the very least uncomfortable, and more likely offensive, to a modern collector. And that is why I struggle with all the pre-war cards sets.
As Nick wrote a couple of years ago, “while cards have always existed, their role in defining who ‘real’ ballplayers are cannot be ignored.” If I collect cards to celebrate the baseball of the time, I have to ask myself: do I really want to hang a frame on the wall that glorifies segregated baseball? The 1934 Goudey card set, the T-206 set, and all pre-war card sets, perpetuate the lie that “organized” baseball sold America for decades, that these were the best players, the “real” players.
While major league baseball was barring great Black players from playing in its leagues, and most white newspapers were complicit in not reporting on the Negro Leagues, companies like American Tobacco and Goudey were not putting Black players on baseball cards. There were a lot of minor league cards or sets in these years, there were sets for pilots, and actors, and dogs, and trees, but nothing for the many fans of Oscar Charleston or Bullet Joe Rogan or Biz Mackey. Didn’t they smoke, or chew gum?
Had any of these companies chosen to make a Negro League set, or, better yet, incorporated Negro League players into their flagship sets, it might have led to increased and earlier calls for integration, and would have made these players “real” to kids all over America. But they did not.
When it comes to baseball cards, the lie began to dramatically unravel in the 1950s. By the end of the decade, nearly 10% of the players on the field had dark skin, and many of these were among the best players in the sport. If you collected, some of the best and most sought after cards depicted players who you might not have heard of had they played a decade earlier. In 1956, ten years after White America wondered if Jackie Robinson would be good enough, there were 52 Black players on big league diamonds. Nine of them are in the Hall of Fame. Nine.
I have been dabbling in the cards of the early 1950s in recent years. I don’t have any of the sets and doubt I ever will, but enjoy picking up an occasional example, including Ted Williams or Yogi Berra or Duke Snider.
Sing the praises of pre-war cards and players as you wish. But the 1950s are the first time when the best players were allowed in the major leagues and in baseball card sets. Both enterprises, belatedly, had become legitimate.
Popcorn, cookies, hot dogs, ice cream, newspapers, potato chips, dog food (DOG FOOD!), chewing tobacco, chewing gum…you name it! Wait, did I forget the syrup?
Of course, it’s not just about quantity, else just about any year from the Junk Wax era would beat 1954 hands down. But unlike the macaroni, hardware, and toilet paper cards of the late eighties, these 1954 releases also happen to be fantastic sets! They also marked a turning point.
In that sense, 1954 was not only the greatest year to be a collector but also the end of a certain Golden Age of cards. For collectors interested in taking a closer look at this magical year, I’ve compiled a checklist of the Hall of Famers (and Minnie, who belongs!) featured in each of the multi-team sets, with a notes column capturing all single-team releases. (A more readable version is here, which you can also sort in ways other than most cards to least.)
As a window shopper who loves flipping through sets in Trading Card Database or just admiring the collections of others, there is no better year for me than 1954. On the other hand, as a player collectors whose focus includes Hank Aaron, Roy Campanella, and Jackie Robinson, I will confess to often cursing the fact that certain sets exist. Then again, I suppose I’m still more likely to get the two 1954 Campy cards on my want list before the Shohei Ohtani completists get anywhere near the 2722 cards Trading Card Database lists for him in 2018 alone!
How about you? What’s your pick for greatest year in baseball card history? And if you’re a player collector, is it a good thing or a bad thing when the want list is a mile long?
That’s a pretty obvious way to start this, right? Pretty much anyone who has spent time in the baseball card hobby knows how that digit and that name go together, that Andy Pakfo, as a Brooklyn Dodger, was card #1 in the landmark 1952 Topps baseball card set.
I’ve often wondered why Andy Pafko, of all people, got the fabled #1 spot in that set. But did it matter in 1952 that he was card #1? When it card #1 start mattering? The earliest example of a card set with a clear numbering system was the 1909 Philadelphia Carmel set. The cards aren’t individually numbered, but rather featured a numbered listing on the back for the 25-card set, with Honus Wagner is the #1 spot. Wagner was (and is) a huge name in the sport, but given that 10 of the 25 subjects of the set are Hall-of-Famers, it’s likely that Wagner was listed first, well, just because he was listed first. The 1910 Philadelphia Carmel set had the same numbering system, this time with Athletics’ first basemen Harry Davis is the #1 spot, with the checklist arranged by team and Davis in the top spot for no obvious reason.
The first true #1 seems to be Mordecai “Three Finger” Brown in the 1911 Turkey Red Cabinets set. This set, too, features a list of all subjects in the set on the backside of each card, but each card is also numbered, with “No. 1” gracing the backside of Brown’s card. The number system had a purpose – smokers could collect coupons from certain Turkey Red products and exchange them for the cards, instructed to “order by number only.” As for Brown’s place in the #1 spot, it isn’t clear whether not is was supposed to mean anything. There’s a haphazard alphabetical ordering to the set, but many of the names are out of place, including Brown’s. And while Brown was one of the biggest names in the sport at the time, the set is loaded with similarly famous names. The 1914 and 1915 Cracker Jack sets were also numbered, with no clear system to their assignment. The #1 card in each (the 1915 set re-issued most of the 1914 set) was Otto Knabe of the Baltimore Terrapins of the Federal League. Knabe had a few good years with the Phillies of the National League, but was hardly a star in Baltimore and was out of baseball by the end of the 1916 season. Again, we find a #1 with no obvious reason behind it.
The 1933 Goudey set is a landmark in hobby history, but no one cared to memorialize this occasion with it’s opening card. The spot went to Benny Benough, a career back-up catcher who had played his final season in 1932. But in the 1934 Goudey set, Jimmie Foxx – winner of the AL MVP award in both of the previous seasons – was given the lead-off spot. This is the first obvious example of the #1 used as an honorarium. And it would be the last until 1940, when the Play Ball set devoted the first 12 spots in its 240 card checklist to the four-time defending champion New York Yankees, with the #1 spot going to reigning MVP Joe DiMaggio. But in 1941, Play Ball went with Eddie Miller as card #1. Miller was an all-star the year before but, as a member of the moribund Boston Bees, was hardly a household name.
The first two major post-war releases honored a pair of reigning MVPs with their #1 spots – 1948-49 Leaf with Joe DiMaggio and 1948 Bowman with Bob Elliot. But Bowman got a little more obscure with their 1949 #1, picking Boston Braves rookie Vern Bickford – a member of a pennant-winning club, but hardly a national stand-out. Bowman’s 1950 #1 was Mel Parnell, an all-star and a sensation on the mound in ’49, and in 1951 they opened with rookie Whitey Ford, who’d helped lead the Yankees to another World Series win. Both were stand-out players and names collectors would have known, but neither are as convincing as purposeful picks for #1 as Foxx, DiMaggio, or Elliot. For Topps’ 1951 Game release, there were a pair of #1s (for both the blue and red back sets) – Yogi Berra and Eddie Yost – who, like Parnell and Ford, don’t really indicate any obvious attempt to use the number as an honor, particularly given the small size of 1951 issue.
So that brings us to “Handy” Andy Pafko. And tells us… well, not much. Sometimes the top spot was used to pay tribute and sometimes it was just used and sometimes it’s kind of stuck in between. But after Pafko, Topps would use the #1 spot for a variety of purposes, some honorific, others utilitarian. The 1950s were a mixed bag: a jumble of superstars (Jackie Robinson in 1953, Ted Williams in 1954, 1957, and 1958), executives (AL President William Harridge in 1956 and commissioner Ford Frick in 1959), and a postseason hero (Dusty Rhodes in 1955). The 1960s featured award winners from the year before (Early Wynn in 1960, Dick Groat in 1961, Roger Maris in 1962, and Willie Mays in 1966), mixed in multi-player league leader cards and a tribute to the 1966 Baltimore Orioles World Series win. Between 1970 and 1972, the #1 card honored the World Series winner with a team photo. 1973-1976’s top spots went to Hank Aaron, honoring his chase and breaking of Babe Ruth’s home run and RBI records. But this run of #1s could have been little more than a coincidence. After Aaron’s 1974 card (which is actually his base card, the front given a unique design to commemorate the home run records that he hadn’t actually set yet) was a pure #1 honor spot. But the ones that followed fit into a pattern that Topps would mostly use for the next decade – opening the set with either Record Breakers or Highlights and ordering those cards alphabetically. A fellow named “Aaron” setting records and making highlights was bound to take those top spots. (You can find Beckett’s visual guide to Topps #1s here)
Despite an boom in card production, the 1980s would see dark times for #1 cards. Fleer and Donruss joined Topps in the baseball card market in 1981 and both companies put player base cards in their #1 spots. Fleer honored the veteran Pete Rose and Donruss led off with young shortstop Ozzie Smith, a decision that – in the context of the great work on the ’81 Donruss set by Jason in a recent post here – seems to not have been much of a decision at all, leaving their brand’s Hall of Fame leadoff man more of a coincidence than a tribute. But by 1982, all three companies had locked themselves into numbering formulas that left little room for creativity at the top. Topps went with Record Breakers or Highlights, bottoming out in the #1 game in 1983 when Tony Armas took the honors with a card commemorating him fielding 11 fly balls in a single game, breaking a five-year-old record. Donruss debuted its famed ‘Diamond Kings’ subset in 1982 and opened each set of the 1980s with it, leading to some big names at the top, but never really lining up the assignment with any big event from the prior year (only Ryne Sandberg’s #1 card in 1985 followed up on a major award win). Fleer, arranging its checklist by team, opened up each set with the previous year’s World Series winner. But with the players within each team arranged alphabetically, their #1s went to guys like Doug Blair and Keith Anderson as often as they went to stars. What’s more, Fleer goofed in 1989 and opened the set with the Oakland A’s (Don Baylor at #1), even though the Dodgers won the World Series in 1988. And just two years later, Fleer would make the same mistake, handing the A’s a premature crown for the 1990 season by leading off with catcher Troy Afenir, who had 14 at bats the year before and hadn’t played at all in the postseason. Their habit of honoring (or at least attempting to honor) the World Champions at the open of their set was dropped after that year.
The truest honorary #1 spot from the big three in the 1980s was the 1986 Topps Pete Rose. His base card – a “pure” card – was given top billing and followed by a series of career retrospective cards to commemorate his breaking of the all-time hits records in 1985. It was the first time since Willie Mays in 1965 that a player’s pure base card was given #1. 1986 also saw the debut of Sportflics, a gimmicky set, but one that took its #1 seriously. George Brett led off the set and, for the next four years, the set would always open not just with a star, but with a player sought after in the hobby. In 1988, the Major League Marketing, parent company of Sportflics, debuted the more standard Score set, which opened with Don Mattingly at #1, continuing the trend set by Sportflics and bringing it into the collecting mainstream.
1989, of course, would be the year Upper Deck changed the hobby forever, in no small part to opening up their debut set with – for the first time ever in a major release – a player who has yet to make his Major League debut. This card, of course, was the iconic Ken Griffey Jr. rookie. It would become one of the hobby’s most recognizable cards and would join the Pafko as a famed #1. But oddly enough, it didn’t really change the trajectory of #1s. In fact, Upper Deck, who owed so much to that one card, didn’t even bother putting a player in the #1 spot in 1990 or 1991 – using that spot instead for checklists. The next big deal rookie to get a #1 spot from any brand was Mark Wohlers in the 1992 Donruss set. And who remembers that?
The heart of the junk wax era saw some interesting uses of #1. In 1990 and 1991, Donruss’s new Leaf Set – among the first line of upscale releases – didn’t even have a card #1, instead opening with unnumbered card with the Leaf logo. The 1991 Bowman set opened with a tribute to Rod Carew. Intended as a fun set for kids, Donruss’s 1992 Triple Play set opened with a card of Skydome. And to showcase the classiness of its first upscale set, Topps put Dave Stewart at the 1 slot for its debut Stadium Club set – dressed in a tuxedo and a baseball cap. There were a few true head-scratchers from this era as well, such as 1993 Donruss opening with journeyman reliever Craig Lefferts. Or Bowman giving its #1 in 1993 to Glenn Davis, who was 30 games away from the end of his career (it was actually Davis’ third straight year getting a #1, as he got the spot in 1991’s Studio set and 1992’s Fleer Ultra due being the first alphabetical player for the Baltimore Orioles, the first alphabetical American League team).
By the mid-1990s, nearly all major releases – save for Fleer, who clung to their team-based numbering system that gave no attention to #1 – had taken up the practice putting a base card of a star player with hobby appeal in the top spot. That trend continues today, with Topps offering an online vote to determine who gets #1 each year, and the winning players – Aaron Judge, Mike Trout, Ronald Acuna, very much fitting that mold. So it ended up not being the legacy of Andy Pafko or Ken Griffey Jr. or Diamond Kings or broken records or hot rookies that live on as #1 in our binders today, but that of Sportflics and Score, who made things no more complicated than taking a player both talented and popular and putting him at the top of stack.
Perhaps the most mysterious and rare post-World War II set was issued by Bowman in 1949. The Philadelphia-based company produced a 36-card set featuring Pacific Coast League players in the same style as their major league cards. Strangely, Bowman only in distributed the cards in Portland (Oregon), Seattle and Philadelphia. Thus, only a small number of cards ever made it into circulation. Only around 2000 cards are known to be in collections.
My “go to” source for information on vintage PCL collectibles is Mark Macrae, who is a collector, dealer and historian. Mark kindly sent me an article he co-authored with Ted Zanidakis titled, “1949 Bowman Pacific Coast League Set.” The article was published in the March/April 1997 edition of the “Vintage & Classic Baseball Collector.” Most of the information in this piece is derived from the article. By the way, Mark has a complete set of the Bowman PCL cards.
The limited distribution of the product is hard to understand. Bowman went to the trouble of designing and printing the cards only to limit their distribution on the West Coast to the Pacific Northwest. The Los Angeles area had two teams, as did the Bay Area. Why not introduce the cards in an area containing significantly more potential buyers? Additionally, its hard to see the logic behind distributing PCL cards in Philadelphia, even if it was Bowman’s home base.
Speaking of which, the cards released in the Philadelphia area were included in the major league Bowman packs. Based on the print font on the back and the use of pastel background colors, the PCL cards were most likely mixed in with the big leaguers in the middle series. Original collections of Bowman cards from the Philadelphia area average around 3-5% PCL cards.
The aforementioned article discusses the recollections of a Seattle collector named Frank Caruso. He remembers purchasing the cards in 5-card packs for a nickel. Mr. Caruso didn’t remember any special wrapper or promotional materials at the stores. The cards may have used the same wrapper as the major league Bowman cards but contained only PCL players.
Mr. Caruso’s recollection puts into doubt a long-held belief that the cards were never distributed in packs on the West Coast. The PCL cards from Portland and Seattle often appear to be hand cut, leading to the assumption that the cards were issued in uncut sheets. Indeed, some uncut sheets turned up in the Portland area in the 1980s. However, Bowman was known to send uncut sheets of major league cards to candy distributors for promotional displays, so this practice may have been replicated with the PCL version.
So, why do many of the PCL cards appear to be miscut? One explanation offered by Mr. Macrae is that Bowman was very lax with quality control. Collectors of the Major League cards have often noted the propensity for Bowman cards to be poorly cut.
As with the regular Bowman cards, the PCL backs included two premiums. Twenty-five cents and five wrappers got you a baseball game and bank. Three wrappers and fifteen cents resulted in a ring. Apparently, only rings for Seattle and Los Angeles have surfaced. The rings are as rare as the cards.
Bowman’s rationale for selecting which PCL players would be included is murky. They left out many of the star players from 1948. For example, Gus Zernial of Hollywood had 237 hits and 156 RBI but didn’t make the cut. Also, Gene Woodling didn’t get a card and he hit .385 for San Francisco! The availability of photos may have been the deciding factor in who got a card.
There are some familiar names in the PCL set-at least to most readers of this blog. Here is a sampling: Joyner “Jo-Jo” White, Charles “Red” Adams, Pete “Inky” Coscarart, Mickey Grasso, Jack “Suds” Brewer and Herman Besse.
Currently, the least expensive card on eBay is $149 in fair condition, but you can own the entire 1987 reprint set for $39.99.
In 1949, major league baseball was still nine years away from moving the Giants and Dodgers to the West Coast. Television was just starting to make have a negative impact on the attendance figures of minor league baseball. The PCL was “major league” to the fans in the eight member cities. Bowman’s half-hearted foray into the PCL market seems like a mistake. Most likely, the cards would have sold well if offered to kids in all the franchise locations.
A couple years ago now, someone was running a Twitter sale and posted a batch of 1955 Bowmans. I hadn’t quite made the jump into pursuing Giants Bowman cards at the time but I looked at the batch anyway and one card jumped out at me that I had to have. So I responded to the tweet and the following conversation ensued.
“I’ll take the Bowman.”
“Which one? They’re all Bowmans.”
“The Bowman Bowman.”
The card that jumped out at me and the first 1955 Bowman I ever purchased was Roger Bowman’s Rookie Card. I knew nothing about him as a player* but the silliness of having a Bowman Bowman card was irresistible.
*I would discover that he was a former Giant but by the time his Rookie Card was printed his career was basically over.
And so a collection theme was born. I don’t have all of the cards in this post but they’re on my radar. Sometimes we collect our favorite teams. Sometimes we collect our favorite players. And sometimes we collect cards where the player name describes the card itself.
On the theme of the Bowman Bowman we’ll start with a pair of Johnson Johnstons. As a Giants fan the Johnston Cookies issues aren’t exactly relevant to my interests. But getting an Ernie or Ben Johnson card of those? That’s something I can feel completely fine about adding to my searchlist.
Sadly there aren’t a lot of guys whose names match the card manufacturers. Hank Gowdy, despite playing through the 1930s, never appears on a Goudey card. Score never made a Herb Score card.
Thankfully the Ted Williams company produced Ted Williams cards in its early 1990s sets and the Conlon Collection included a Jocko Conlan card as well. And to bring us back to where we started, Matthew Bowman gives us the modern version of the Bowman Bowman card.
But it’s not just card manufacturers where this checklist is relevant. Player names can match team names whether it’s Dave Philley as a Phillie or Johnny Podres on the Padres. Jose Cardenal almost got aced out since his time with the Cardinals corresponds to when Topps calls them the “Cards”* but his Kellogg’s card, with no team name on the front but Cardinals on the back, doesn’t do this.
*Cards cards are an honorary member of this collection.
Unfortunately guys like Daryl Boston and Reggie Cleveland never played for Boston or Cleveland respectively.
First names can also match in this department. Like we’ve got Angel the Angel who sadly never pitched when the club called itself The Los Angeles Angels. There are plenty of other players named Angel on Baseball Reference but none appeared for the Angels.
Sticking with first names and moving to more thematic cards. We’ve got a Chase chase card and a Rookie Rookie Card. I went with Chase the batdog whose card is a short print in 2013 Topps Heritage Minors but there are also a few Chase Field cards that are numbered to various small numbers. Sadly, images of those are hard to come by.
The Rookie Rookie though I enjoy a lot. I usually hate the RC badge but in this case it really makes the card.
There are also a couple more thematic near misses. Cookie Lavagetto left the Oakland Oaks the year before Mothers Cookies started making its PCL sets in the 1950s and Cookie Rojas, despite managing for the Angels in the 1980s, was on the only West Coast team that did not get Mothers Cookies cards.
And finally, much to my dismay, the 1968 Topps Game Matty Alou Error Card does not contain an error. Although I do keep that card around as one of my favorite Error cards.
Any more suggestions? Please leave them in the comments!
A couple cards that came up in the comments the week after this posted.
First a Wally Post Post card which Tom Bowen suggested in the comments. Thanks Tom! And second a green tint* Pumpsie Green that I knew of an completely spaced on when I wrote this.
Just a few days before the opening of “Home Base,” my exhibition about the history of baseball in New York City, I received an email from a woman who had been steered my way by the esteemed official historian of Major League Baseball, John Thorn. The content of the email was, mostly, something I have seen before. A family had inherited a baseball card collection. They believed it had some value but were looking for assistance as to which way to best navigate a sale.
In the few years I have been assisting people in selling their collections, I am, at best, usually approached with cards from the 1970s. Often, it’s even more recent and pretty worthless. I’ve disappointed many a soul when I told them that the five Wade Boggs rookie cards they hoarded as a kid weren’t going to make them a millionaire. I’ve reached a point where I understand that such collections aren’t worth the many hours that go into what it takes to inventory, organize and sell a collection, and I pass on the opportunity.
But, this email had two distinctive features. The first was the recommendation from John, who has the wisdom to know if something is the real deal. The second was that this family had already done a considerable amount of inventorying and research in the eight months since their uncle died. They sent me a series of handwritten lists they had created, which told me which sets they had and which cards were missing from each. It was intriguing enough that last week I decided to meet with them to see it in person.
I met the three sisters, Karen, Lynn, and Mary, and their mother, Gertrude. They made me a splendid breakfast and regaled me with stories of their uncle, Johnny Gould. Johnny (the handsome fellow whose picture is at the top of this blog) was born in 1940, was single for most of his life, and was living in the home that belonged to his parents when he died. He was remembered by his family as one who was both “salty and sweet,” a kind soul who was a bit of a reclusive loner. He was also a sports fanatic. All sports. He was a Redskins fan who was the quarterback in many a neighborhood pickup game. He liked basketball and was an avid watcher of golf. But, the true passion of his life was baseball.
As a youth, he pursued a professional career. Among the things he left behind in his collection were an interest letter from the Pittsburgh Pirates, and the business cards of John Whalen and Walter Youse, scouts for the Indians and Orioles, respectively. He signed with the Indians, as a pitcher, and was in their minor league system when an arm injury derailed his fledgling career. After his dreams of major league glory were dashed, he continued to channel his love of the game into collecting. It was an intense romance that resulted in a collection that has brought me to pen this little missive.
I am in the middle of inventorying the first five fifty-gallon storage tubs, and those represent just a portion of the collection. The cataloging process will likely take me several more weeks and as a result, I can’t accurately represent the sheer enormity of it, not just yet. However, I have seen enough that a story is starting to emerge.
Johnny began collecting baseball cards in 1950, when he was a ten-year-old boy. His timing was synchronous with the explosion of the hobby, which had been mostly dormant during World War II. Johnny began with Bowman, the only real game in town at that point. That 1950 offering included what we now think of as key cards for Jackie Robinson, Ted Williams, and Yogi Berra. The nickels that Johnny paid for a pack of five cards (or one-card packs for a penny), resulted in him having multiple copies of those legendary players, and more, in this relatively affordable vintage set.
After he experienced the photo-based, lushly painted wonder of the 1950 Bowmans, he clearly became hooked. For the next 13 years he purchased every set that Bowman and Topps produced, with the seeming exception of 1960. The quantities he bought would vary, year to year. He was missing fewer than 50 cards that were produced by Bowman from 1950-1955. From Topps, he had a complete set of 1957, was missing only one (ironically inexpensive) card from the 1956 set, and was only a couple dozen cards shy of completing the sets from 1952-55.
Among the many, many cards that Johnny collected in his teens are some of the most iconic ones in the hobby. He not only owned the 1952 Topps Mickey Mantle, perhaps second only to the famed T-206 Wagner in terms of desirability by collectors, but he had two 1951 Mantle Bowmans. There are multiple rookie cards for all of the biggest names of baseball’s golden age: Hank Aaron, Ernie Banks, Willie Mays, Eddie Mathews, Al Kaline, and Sandy Koufax are all represented, just to name a few. Johnny also, at one point in his life, started collecting pre-war cards, too. There are 1934-36 Batter Ups and Diamond Stars, 1935 Goudey 4-in-1s, 1933 Eclipse Imports and a fair sprinkling of 1939 Play Balls, including both the Ted Williams and Joe DiMaggio rookie cards.
The conditions of the cards vary. At some point he trimmed the ’52 Mantle so he could fit it into his wallet, according to the sisters. Most of the wear is more traditional. It’s clear from the ones dating back to the early years that Johnny loved his cards with a little boy’s enthusiasm. But, as he matured, he started to take better care of his collection. The borders of the 1962 Topps, with their dark faux woodgrain, are remarkably sharp and unchipped.
One habit superseded any desire he may have had to keep his cards pristine. Johnny went through a phase in the mid-’50s where he wanted to learn how to sign an autograph, just like his idols. What better arena in which to learn than on the cards themselves, where manufacturers frequently provided a facsimile signature? Johnny had nine copies of Hank Aaron’s 1956 Topps. Five of them feature what I believe are the sixteen-year-old’s florid attempts at replicating the tight signature of Hammerin’ Hank.
His habit of copying signatures almost made me miss a group of 1953 Bowmans that contain, what I now believe to be, legitimate autographs. At first I was working under the premise that they were also fakes, largely because the Mantle autograph looked so different from his more familiar style, with the half-moon M at the front of both parts of his alliterative moniker. Then, I took a second look. On the cards that were obvious forgeries, Johnny’s youthful attempts at copying the signatures weren’t very good. Not only did they look nothing like the real thing, but they were all obviously written in the same hand. The ’53 Bowmans not only seemed to be by different hands, but the cards themselves do not contain a facsimile to inspire his practice. That realization then triggered the memory that Mantle’s signature, like so many others, evolved over the years. With the help of sportscollectorsdigest.com I found a version of Mantle’s autograph from a similar era. I leave the comparison to you.
Gertrude confirmed that Johnny started taking the bus to Griffith Stadium when he was thirteen. All of the signatures on the ’53 Bowmans, seven in total, were guys who played on American League teams, four of them Yankees. As such, there would have been an opportunity for Johnny to connect with each of them. I’m firmly convinced these signatures are real and will be keeping an eye open for even more examples as I inventory the rest of the collection.
Autographs became very important to Johnny, ultimately overcoming his collection of baseball cards. While he appears to have mostly stopped buying cards around 1962, that year also marks the beginning of when he started a new hobby. Included in the collection are three boxes of envelopes, with approximately 150 envelopes per box. The dates on the postmarks span the years 1962-’97, and come from around the United States. It seems that Johnny wrote the ballclubs (and later in life, professional golfers), and sent them a SASE filled with blank index cards. The teams returned them, signed, with mixed results in terms of player participation. Often, only one player responded, signing multiple cards. Anyone in need of 12 copies of Charlie Spikes’s autograph?
Some of the envelopes, however, have taken my breath away. One postmarked from San Francisco in 1965 contained the autographs of six Hall of Famers, including Orlando Cepeda, Juan Marichal, Willie McCovey, Gaylord Perry, Warren Spahn and Willie Mays. Another contained almost the entire starting squad of the 1969 Mets, including Tom Seaver. A third featured many of the 1969 Pirates, including one signed by Roberto Clemente. I had never touched anything that was also once held by Clemente, a personal idol, and the experience left me shaken.
The contents of the card collection itself are a rare experience for many hobbyists. A chance to dive into so many of these legendary pieces of cardboard is a precious opportunity indeed, and I expected to be moved by my discoveries along the way. But, I’m normally not an autograph guy. Even as a child, I found something awkward in asking a player to sign something for me. It felt like an invasion of their space, like I was a thief trying to steal their names. So, it is with no small amount of irony that I find myself most captivated by this collection of envelopes. The sisters did not have time to inventory their contents, so each is a surprise to me, and some of the names I am stumbling across are humbling.
The envelopes have also given me a chance to better understand Johnny Gould, the man. It is one thing for a ten (or twenty) year-old boy to spend a few dimes on packs of baseball cards. But to practice a habit for thirty-five years, carrying it through until well past middle-age, speaks to a particular mind. Lynn pointed out that while many of the cards were stored in literal shoeboxes, the envelopes lived in the top drawer of his dresser, always close at hand. Each one of those envelopes, all of them containing the same D.C. return address written in the same, neat, steady hand, is a testament to a passion I readily recognize. For Johnny, those index cards were transformed from simple squares of paper to direct links to the game that he gave his life to, in his most singular way. I, and likely most of you reading this post on this particular blog, can certainly relate.
I am excited for what the next few weeks hold. There are still plenty of treasures to discover as I prepare to help the family sell their uncle’s legacy. There’s more I’ve already uncovered that I didn’t even mention this time around. Maybe I’ll have to write more about it as I journey down the path. In the meantime, if any of you might be interested in purchasing items from the Gould Collection, feel free to drop me a line at email@example.com. I’ll be over here, touching history.
Rather than imagine the Topps intern assigned to building the checklist simply whiffed on Joltin’ Joe (or that there even was a Topps intern with such a job!), I have to believe Topps simply lacked the rights to feature DiMaggio’s likeness on cardboard. A look at other postwar sets during and after DiMaggio’s career show his absence in 1961 was definitely the rule and not the exception.
1933-1941 (AKA “Prewar,” depending where you lived!)
During the early part of the Clipper’s career, while he was not in EVERY set, one can say he tended to appear in every major set you’d expect to see him in, and then some, including these two gems from the 1933-36 Zeenut set.
Knowing DiMaggio didn’t make his Yankee debut until 1936, it’s not a big surprise that he didn’t appear in the three major gum card releases of the mid-1930s: 1933 Goudey, 1934 Goudey, and 1934-36 Diamond Stars. That said, his appearance in 1933 Goudey wouldn’t have been completely out of the question since that set did include 15 minor leaguers, including a fellow Pacific Coast Leaguer, Pete Scott.
Meanwhile, the 1934 Goudey and 1934-36 Diamond Stars checklists did not include any minor leaguers, so there’s no reason DiMaggio would have even been up for consideration.
Now some of you may know about the 1937 Diamond Stars extension set and surmise that Joltin’ Joe might have cracked that checklist. Unfortunately, all that seems to have survived is a single sheet of 12 cards, which of course DiMaggio is not on. All we can say for sure then is that if National Chicle did have a Diamond Stars card planned it would have been a gem!
The two-year stretch from 1936-37 did see DiMaggio appear on several cards, now as a Yankee, though there is room for debate among the collecting orthodoxy as to which constitute his true rookie card. (Don’t ask me, I’d vote for his San Francisco Seals cards!)
These four from 1936 have the benefit of being a year earlier than the 1937 cards, hence score a few more rookie points for their date of issue. On the other hand, all are of the oversized premium variety, which not all collectors put in the same category as the smaller cardboard offerings that come from packs of gum or cigarettes.
In fact, DiMaggio did crack one (cataloged as) 1936 (but really 1936-37) set of gum cards, but the fact that the World Wide Gum were only issued in Canada gives pause to a good many of the Hobby’s arbiters of rookiehood. If nothing else, though, note the nickname on the back of the card. A bit harder to read but the bio would not pass muster today in its reference to Joe as “a giant Italian.”
One of DiMaggio’s most sought after cards, rookie or not, was another Canada-only release and came out the following year under the later-on-much-more-famous O-Pee-Chee name.
Back in the U.S., DiMaggio made it onto two cards in 1937, but as with the preceding year they were both of the larger premium variety. The Goudey offering (left) is not much (any?) different from its 1936 counterpart, while the Exhibits 4-in-1 is particularly notable in its pairing of the Yankee Clipper with Lou Gehrig. (Oh, and the other two guys are pretty good also.)
It is finally in 1938 that Joltin’ Joe receives his first ever, God honest American gum card as a Yankee, thanks to the 1938 Goudey “Heads Up” set. Like the other 23 players on the checklist, he in fact appears twice, once with a plain background (card #250) and once with a cartoon background (card #274).
Finally, DiMaggio and Gehrig make it onto another 4-in-1 of Yankee legends, this time swapping out Tony Lazzeri for Bill Dickey.
To this point, just about every card I’ve shown, save the 1938 Goudey pair, has some level of oddball status attached. This was not the case from 1939-41 when Gum, Inc., hit the scene with its three year run of major bubble gum releases under the Play Ball name. Though the term is perhaps overused, I’ll throw DiMaggio’s 1941 card out there as one of the truly iconic cards of the Hobby.
The Play Ball cards weren’t DiMaggio’s only cards from that three-year stretch. He could also be found in the 1939-46 Exhibits “Salutations” set, yet another oversized offering…
And the 1941 Double Play set, where he was paired with his outfield neighbor, Charley Keller.
If there’s a theme to all of this, beyond just the opportunity to post a lot of incredible cards, it’s that Joe DiMaggio was no stranger to cardboard during the prewar portion of his career. On the contrary, he was in just about every major set there was, and then some!
These next ten years take us to the end of the Yankee Clipper’s career while also leading us through the wartime era where not a lot of card sets were being produced. DiMaggio cards didn’t simply follow the dip in overall card production but practically disappeared altogether.
Joe’s first card, post-1941, comes from the 1943 M.P. & Company card, a somewhat “off the radar” almost certainly unlicensed set, something we’ll see quite a bit more of as we proceed through this section of the article. (Side note: This set is screaming out for one of you to solve the remaining 21% of a mystery.)
Two notable aspects of the card are Joe’s position, right field (!), and the fact that his recent hitting streak is not mentioned.
The latter of these notables is addressed five years later in the 1948 Swell “Sport Thrills” set, which also happens to be the first gum card set of baseball highlights and a possible inspiration for the 1959 and 1961 cards Topps put out under a similar name.
First off, I’ll show the back of the card, which is everything you might expect to see in a card featuring The Streak.
However, the front of the card is more than a bit disappointing to DiMaggio collectors for obvious reasons. “Where have you gone, Joe DiMaggio?” indeed!
What I read into this card is that Sport Thrills did not have permission from DiMaggio to use his likeness on the card. Yes, it’s possible the folks at Swell truly considered “stopping the streak” a greater achievement than the streak itself, but I kind of doubt it.
But then again, look who made it onto the set’s Ted Williams card, so who knows!
1948 was also the year that Gum, Inc., reappeared on the scene, beginning an eight-year stretch (1948-55) of baseball card sets under the Bowman name. the Bowman sets managed to include pretty much every big name of the era but one: Joe DiMaggio.
Personally I would have loved to see the Yankee Clipper in one of these early Bowman sets, but a “what if” we can consider as collectors is whether the rights to Joe D. would have left another Yankee centerfielder off the checklist in 1951.
You might not have expected any mention of Topps so soon, but it’s worth noting that Topps made its baseball debut not in 1952 or even 1951 but in 1948 with 19 of the 252 cards in its Magic Photos release featuring baseball players.
The first five cards pictured could lead you to believe the players were all retired greats, but in fact six of the cards in the set featured images of the 1948 World Champion Cleveland Indians. Well shoot, this was the one year from 1947-53 that the Yankee’s didn’t win the World Series! Crazy to think it, but perhaps if the Yankees and not the Indians had signed Paige and Doby, there would be a playing career Topps card of Joe DiMaggio!
One of the least known (in terms of origin, not familiarity) releases of the era was the 1948 Blue Tint set. DiMaggio has a card in the set but in what’s emerging as a common theme the card (and entire set!) are believed to be unlicensed.
Similar to the 1938 Goudey cards a decade earlier, the 1948 1949 Leaf set finally presents us with an unambiguously mainstream, all-American, picture-on-the-front, New York Yankees card of the Clipper. It even boasts #1 in what is one of the earliest examples of “hero numbering” in a baseball card set.
Astute collectors may now say, “A-ha! That’s why he wasn’t in Bowman. Leaf signed him first.” However, my own belief is that Leaf not only didn’t sign DiMaggio but didn’t sign anyone, making this card as well as the rest of the set unlicensed. (As always, I would love it if a reader with more information is able to confirm or correct this in the comments.)
The next same year M.P. & Company was back with what I wrote about last year as the laziest set ever, adding to our tally of unlicensed Clipper cards. I rather like the blue added to Joe’s uniform since the 1943 release, but I don’t love the bio remaining unchanged even six years later.
In 1951 Topps hit the shelves in earnest with five different baseball offerings, a number that now feels small but was huge for its time. Though DiMaggio had already achieved all-time great status, there was no reason to expect him in the Connie Mack’s All-Stars set, in which the most modern player was Lou Gehrig.
However, there was reason to expect DiMaggio in the Current All-Stars set, which featured 11 participants from the 1950 All-Star Game. While DiMaggio wouldn’t consider the contest among his career highlights, having gone 0-3 and grounded into a double play, his presence at Comiskey that day at least qualified him for this tough Topps release.
Two other closely related Topps issues from 1951 were the Red Backs and Blue Backs. Though nobody would confuse their checklists for the top 104 stars of the era, it seems reasonable to think Topps would have gone with DiMaggio if they could have.
The final Topps offering of 1951 is one that seemed almost assured to include DiMaggio but didn’t. Topps Teams featured complete team photos of every team on the checklist, but there was only one problem. The checklist did not include the Yankees!
We close out the 1942-1951 stretch with the 1951 Berk Ross set, one that did in fact include a Joe DiMaggio card. In fact, there were two cards if we count his two-player panel with Granny Hamner as separate.
While not a lot is known about these Berk Ross cards, the one thing most collectors believe is that these cards, much like the other DiMaggio cards of the era, were unlicensed.
As much as some collectors, then and now, would have loved to see a 1952 Topps card of the Yankee Clipper, we of course know he did not crack the set’s 407-card checklist, nor should he have been expected to. While “career capper” cards are the norm today, the tradition at Topps for many years was to focus its flagship set on the players expected to play in the current season.
DiMaggio did find himself with an unlicensed career capper in the 1952 follow-up from Berk Ross
Beyond 1952 we are clearly in post-career territory, meaning DiMaggio cards would mainly rely on three types of issues: all-time greats, highlights, and reprints.
Of course that’s if we’re talking about the cards themselves. Joltin’ Joe was in fact the frontman for the 1953 Bowman set, his likeness and endorsement appearing on the boxes and the wrappers.
Side note: Topps liked the idea enough to try their own version of this in 1954.
The first opportunity for a post-career DiMaggio card came from Topps in 1954. If you’re confused, the set I’m talking about isn’t the 1954 Topps baseball set of Hank Aaron RC fame but a 1954 Topps set that mainly consisted of cards like this.
The 1954 Topps Scoop set captured 156 notable moments in our history, and four of them came from the world of baseball.
DiMaggio and his famous Streak would have been right at home in the set, but their absence was hardly conspicuous either given the primarily non-sports focus of the set.
The next opportunity for a DiMaggio card came in 1959 when Topps issued a ten-card Baseball Thrills subset as part of its main release. However, Topps focused all ten of the cards on current players.
The same year, Fleer issued its 80-card Ted Williams set. As the set’s name indicated, all the cards were of Ted Williams. At the same time, many of the cards included cameos of other players and personalities. As linked as the careers of Williams and DiMaggio were, a card of the pair would have fit the set perfectly.
The very next year, Fleer issued the first of its two “Baseball Greats” sets. The checklist boasted 78 retired greats and one active player (an eyesore of a Ted Williams card) but no Joe DiMaggio.
The checklist nearly doubled to 154 cards in 1961, leaving plenty of room for Joltin’ Joe. Of course, he was nowhere to be found.
Another player highlighting the history of the game in 1960 and 1961 was Nu-Cards. Their 1960 “Hi-Lites” set of 72 postcard sized cards was at the time the largest set of its kind ever issued. Two of the set’s cards featured DiMaggio, ending his decade-long exile from cardboard.
The 1961 Nu-Card “Scoops” set, one of my favorites, added 80 cards, now standard sized, but numbered as if the set were much larger. Again, DiMaggio makes the set twice.
As already mentioned, Topps was also back in 1961 with “Baseball Thrills,” but this time they departed from the 1959 version by including mostly retired stars. Still no Joe.
Nostalgia was evidently in the air in 1961 as yet another player entered the scene with an all-time greats offering. Golden Press produced a booklet of 33 cards that I rate among the best looking ever made.
I don’t know enough about the Nu-cards and Golden Press sets to know if DiMaggio’s image was used with his permission or if perhaps different rules might have applied when cards were issued in book form, as was the case with Golden Press. What I will say is that his absence from the biggies (Topps, Fleer), particularly on the 20th anniversary of the Streak, was more than just accidental.
This next ten-year stretch is one that was fairly thin on tribute cards, so there were few sets produced were a DiMaggio would have made sense.
The 1962 Topps set included its ten-card “Babe Ruth Special” subset, no doubt timed with the falling of Babe’s single-season home run record the year before. It was a fun set but not one that Joe DiMaggio would have belonged in.
DiMaggio did make an appearance in a 1967 set that might cause some collectors to say, “Hey, he finally got a Topps card!” The card came in the “Retirado” subset of the 1967 Venezuelan issue often referred to as Topps Venezuelan. However, the set was almost certainly not produced by Topps, and was more than likely a…you guessed it…unlicensed issue. (A future SABR Baseball Cards article will cover this topic in more detail.)
Bazooka issued an all-time greats set in 1969-70 that included small cards of baseball’s immortals and larger cards of baseball’s greatest achievements. In this case, DiMaggio might have fit either but ended up in neither.
Topps again featured amazing achievements in its 1971 “Greatest Moments” set. However, with all moments coming from current players, there would have been no place for Joe D.
As in the previous ten years it would be up to the smaller players to keep Joe DiMaggio’s cardboard legacy alive. One such player was Robert Laughlin, later affiliated with various Fleer sets of the 1970s. His cult classic World Series set (original version) from 1967 featured DiMaggio as the broom swinger of the 1939 Fall Classic.
With production of these Laughlin cards limited to 300 sets, collectors were forced to head to Oakland area Jack in the Box restaurants to feed their appetite for the Clipper, though it’s possible the younger burger eaters would have been even happier to land a different Yankee slugger.
The birth of TCMA in 1972 almost single-handedly accounted for the rapid spike in DiMaggio cards over the next decade, with Robert Laughlin and Shakey’s Pizza doing their part as well.
Two Robert Laughlin offerings that included DiMaggio were the 1972 “Great Feats” set and the 1974 “All-Star Games” set.
The “Great Feats” set, with mostly minor changes, became Fleer’s 1973 “Baseball’s Greatest Feats” set. One major change, however, was that DiMaggio’s card was dropped, almost certainly out of legal fears by Fleer.
TCMA’s first DiMaggio card was part of a beautiful set dedicated to the All-Time New York Yankee Team.
As were the Laughlin cards, TCMA cards were unlicensed and sold direct to hobbyists by mail order. Lawsuits would eventually hit TCMA, but at least for the time being they were able to issue cards of the Clipper with impunity. I can certainly see their “1930s League Leaders” card (left) from 1973 escaping the notice of Joe and his legal team, though was sufficiently under the radar, but I wonder if their 1973-74 “Autograph Series,” designed for signature by the players, might have been pushing things just a bit.
Among TCMA’s other DiMaggio offerings around this time were these postcards pairing the Yankee Clipper with other top-shelf Hall of Famers.
TCMA’s 1936-39 Yankees Dynasty set, issued in 1974, produced another two cards of Joe DiMaggio.
And if you couldn’t get enough DiMaggio/Williams cards, TCMA had your back in 1974 with its “1940s League Leaders” set.
I know a lot of collectors knock the unlicensed stuff, but I’m personally thrilled that TCMA was out there creating the cards that needed to be created. Topps had more than 20 years to figure out a way to pair Joe D. and Teddy Ballgame, and it never happened. This card needed to happen, and I’m glad it did.
We’ll take a quick intermission from TCMA cards to present a three-year run (1975-77) of DiMaggio cards from Shakey’s Pizza.
And now we’re back with more TCMA, this time a 1975 reboot of their All-Time Yankees set featuring all new photos.
Reprint cards and sets hit the hobby mainstream in 1977, including these two cards of DiMaggio, both originally from 1938. The first came from Bert Randolph Sugar’s book of “Dover Reprints” and the second came from Jim Rowe. (DiMaggio’s 1941 Play Ball card would come out as a Dover Reprint the following year.)
1977 was also the year that Renata Galasso began her 270-card magnum opus known alternately as “Decade Greats” and “Glossy Greats.” The first series of 45 cards, issued in 1977 in partnership with TCMA, assigned its very first card to Joe DiMaggio. (DiMaggio returned to the set in the 1984 Series 6 release.)
Evidently it was very much in vogue to lead off a set’s checklist with the Yankee Clipper as we see it happen two more times in 1979 TCMA issues, their 1953 Bowman-like “Stars of the 1950s” and their lesser known “Diamond Greats” set.
Before heading to 1980, I’ll just note that we’ve made it to 1979 with not a single Topps card of DiMaggio and possibly not a single licensed card from any company since either 1941 or 1948.
The Me Decade kicked off with a beautiful Perez-Steele postcard of the Clipper. Dick Perez was not yet associated with Donruss, but Dick would soon lend his artwork to multiple all-time greats sets produced by Donruss over the next few years. You can probably guess whether or not those sets would include Joe DiMaggio. (Interestingly, there was no DiMaggio in the 108 “Great Moments” postcards released by Perez-Steele from 1985-1997. Ditto for the 44-card Perez-Steele “Celebration” series in 1989.)
DiMaggio was in an 30-card unlicensed set of “Baseball Legends” produced by Cramer Sports Promotions, the company that would soon become Pacific Trading Cards.
While other card makers joined the party, TCMA was still king in the early 1980s when it came to the all-time greats. Their third go-round of an All-Time Yankees set presented collectors with an early version of a “rainbow” nearly 40 years after Goudey did the same.
This same year, TCMA also included DiMaggio in its “Baseball Immortals” issued under their SSPC brand.
These 1980 “Superstars” are sometimes listed as TCMA and sometimes listed under the Seckeli name. (Andrew Aronstein, son of TCMA co-founder Mike Aronstein, believes the cards were sold by TCMA but not produced by TCMA. The Standard Catalog notes the cards were probably produced by Card Collectors Closet in Springfield, MA.) The set included 45 cards in all and five of DiMaggio.
A second series of 45 cards followed in 1982, this time with some non-baseball cards in the checklist and only a single DiMaggio.
The same year, Baseball Card News put out a set of 20 cards, including two with DiMaggio, one solo and one alongside Bob Feller.
1982 also saw three more TCMA sets with DiMaggio cards. Baseball’s Greatest Hitters and Baseball’s Greatest Sluggers featured standard sized baseball cards, and “Stars of the 50s” featured larger postcard-sized cards.
The streak of (probably) unlicensed DiMaggio cards finally met its end following the release of one last (probably) unlicensed DiMaggio card from the Big League Collectibles “Diamond Classics” set.
Before presenting the licensed DiMaggio issue, we’ll take one quick detour to highlight a set DiMaggio should have been in but wasn’t. The 1983 Donruss “Hall of Fame Heroes”set of 44 cards presented a terrific opportunity for DiMaggio to make his “big three” debut. (Donruss continued to put out all-time greats sets in 1984 and 1985 but neither included Joe D.)
Instead, DiMaggio signed on with Authentic Sports Autographs (ASA) for a twelve-card, limited edition set consisting entirely of DiMaggio cards.
I suspect “The Joe DiMaggio Story” by ASA represented the first time the Yankee Clipper got paid for his likeness on a baseball card in 42 years.
Rather than continue set by set, I’ll refer readers to an article from Night Owl Cards on DiMaggio’s more modern issues (or lack thereof) and simply close with some highlights.
DiMaggio’s next appearance with a major baseball card maker, which for now I’ll define as holding an MLB/MLBPA license, came in 1986 as part of the Sportflics “Decade Greats” set.
I can’t say for certain, but I think this was the first DiMaggio card to come out of a pack since 1961’s Nu-Card Scoops set.
I hate to bill this next one as “major card maker,” but it fits the definition I offered earlier. So here it is, 1989 Starting Lineup Baseball Greats.
The next major card maker to score a deal with Joe was, well, Score, in 1992. Several different cards, most very nice looking, were inserts either in packs or factory sets. The relationship would migrate to Score’s Pinnacle brand in 1993.
DiMaggio finally made his Fleer debut in 1998, though it was in a somewhat unusual way. The card was part of Fleer’s tribute to the Sports Collectors Digest hobby publication and showed DiMaggio signing cards for Pinnacle in 1993. How many times do you see one brand of baseball cards featured on another?
It was only a matter of time before Upper Deck got into the DiMaggio derby, though it would have to be posthumously. The relationship would continue until more or less the baseball (mostly) death of the company in 2010.
And what about Topps? The “baseball card company of record” at long last issued its first Joe DiMaggio card in 2001 as part of the “Before There Was Topps” subset. (For all those Mantle collectors who regard the 1952 Topps as Mantle’s rookie due to its being his first Topps card, I present to you your DiMaggio rookie!)
Topps would really jump into the DiMaggio game in 2007 and to this day remains your most likely source for future DiMaggio cards, even if Topps does not have an agreement in place at the moment. Overall though, Topps produced baseball cards from 1948-2000, a span of 53 years, with no Joe DiMaggio. Topps didn’t quite match 56, who who the hell ever will?
So all of this was my really long way of saying that it makes sense there was no Streak card in the 1961 Topps Baseball Thrills subset. Too bad though, it would have been a helluva card!
I am currently curating an exhibition at Queens College, in Flushing, which will be on display throughout February and March. While I don’t yet have a title for my little experiment (the show marks the first time I have ever done such a thing), the theme of the event centers on the history of baseball in New York City, from its inception to the present day, told through art and artifacts. I am indebted to a number of individuals who are either loaning me pieces from their private collections, or are submitting original work to help me craft the story I am trying to tell.
Of course, baseball cards are a part of the event. I have long known that I wanted Jesse Loving, creator of the beautiful Ars Longa cards, to be a part of this. Although he had gone on a bit of a hiatus, he kindly agreed to fire up the engines again and is providing me with roughly 80 cards that cover the game in the Big Apple from William Wheaton and Doc Adams, to Rube Marquard and Casey Stengel, a span of roughly eighty years. I am giddy at the idea of creating a wall of his lush, vibrant images, and eagerly await the arrival of the package.
With one or two exceptions, I was intending for Jesse’s work to be the only cards in the show. There are lots of ways to tell the history of the game that have nothing to do with our favorite hobby and I wanted the beautiful creations of Ars Longa to exist in a vacuum. Then, I learned last week that one of the individuals who was contributing some truly exciting pieces from the 19th Century had decided to withdraw from the exhibition. I had to come up with something to fill the holes on the walls of the gallery left by his exit.
I am not a fine artist, nor do I have a particularly extensive collection of artifacts and memorabilia laying about. So, what to do? While the pieces I lost were from the 19th Century, I actually have some of Jesse’s cards, as well as uniforms and equipment loaned to me by Eric Miklich, that are already assisting me in telling that part of the story. I also have quite a few items that represent the Golden Age of baseball in New York, the halcyon days of Willie, Mickey, and the Duke. What the show was really lacking was a nod to the more modern incarnation of the game. The best way for me to benefit my show, and fill the unexpected void, was to focus on that gap.
That’s when it struck me that, while I don’t really have a lot of personal memorabilia at hand, there was a way I could tackle my problem at very little expense. Any exhibit on the history of New York City, (especially one taking place in the most ethnically diverse borough, on a campus that hears over 110 languages spoken every single day) needs to explore the beautiful multiculturalism that makes this City what it is. That was when I came up with my plan, a work I am calling, “If They Can Make it There.”
In the long history of professional baseball, there have been men who were born in over fifty countries besides the United States that have made the incredible and unlikely journey to the Major Leagues. While the Dominican Republic and Venezuela have provided an outsized portion of these ballplayers, countries as far-flung as Belize, the Czech Republic and Australia have also chipped in. Many of those foreign-born athletes got their professional starts in New York City. In fact, twenty-one different countries, not counting the U.S. and its territories, have generated players who made their Major League debut with the Yankees or the Mets. My plan to fill in my unexpected vacancy is to honor these men, and what better way to do it than through the beauty of baseball cards.
I am putting together a collection of these itinerant dreamers which will feature each of them in the uniform of either the Yankees or the Mets. Why just those teams and not also the Giants, Dodgers, and the multiple early squads? Two reasons. The first I already mentioned. The goal was to try and examine the impact of the game in the present day. By focusing on just the Yankees and Mets, it reinforces that point by design. The other reason is economics. Now, I can complete this set, mostly, with inexpensive cards from the last thirty or forty years.
Beyond the player appearing in a New York uniform, I decided to lay down a few other guidelines to make this creation have a little more form, and not just be a random mishmash of cards thrown up on the wall. First of all, no reprints. While the exhibition will feature some reproductions (uniforms, mostly), I have been trying to limit their influence all along. No need to further water down this project by including “fake” versions of the cards. Besides, very few of the cards I needed were particularly valuable, so why resort to knock-offs? I also wanted, if at all possible, for the card to have been issued at the time the player was employed by that team.
This is not always feasible. A number of players who fit this criteria, including cups of coffee like Jim Cockman (born in Canada) and Harry Kingman (China), both of whom made brief appearances with the Yankees years before Jacob Ruppert signed Babe Ruth, never had any card issued, nonetheless one of them wearing the proper uniform. There are even holes for more durable players from recent years, like Stan Javier (Dominican Republic), who enjoyed a seventeen-year career that ended in 2001. During his first big league season, in 1984, he appeared in seven early-season games for the Yankees before being shipped back to Nashville and Columbus for more seasoning. He would later appear on the roster of seven other major league teams, but he never played another game for the Yankees. The Trading Card Database claims he has 289 cards out there, but none of them were issued in 1984 or ’85 featuring Javier in pinstripes.
There are missing pieces of the puzzle for the Mets, too. Utility man José Moreno (Dominican Republic) and shortstop Brian Ostrosser (Canada) never got a card of themselves in blue and orange, at least not while actively playing for the team. I have decided that in their cases, as well as that of Javier, to bend the rules and use one of the cards that came with the sets issued by the NYC-based appliance retailer, The Wiz, in the early nineties. While most of the hundreds who appear in this ubiquitous set were no longer active members of the roster at the time the cards were issued, at least they are dressed properly. I am also considering getting an Aceo Art card of Frank Estrada (Mexico), whose two lifetime plate appearances were insufficient to ever make Topps take notice.
Most of the collection, though, will be the real deal. There are cards from almost all of the big name publishers of the modern era, including Topps, Bowman, Fleer and Donruss. There will be plenty of Junk Era wax, as well as the slick chromes that have come to represent the current state of the industry. The bulk of the exhibit will include roughly 130 cards (purchased via COMC or already in my collection) that cost me a combined total of $45.76. Most exciting to me, however, is that there will be a small handful of pre-war cards thrown in there, too. I decided to reward my clever thriftiness by investing in some slightly pricier goodies.
I’ve already picked up a 1934 Goudey Arndt Jorgens (Norway), a 1934-36 Diamond Stars George Selkirk (Canada), and a 1911 T205 Jimmy Austin (United Kingdom). I also have my eye on two T206s, a Jack Quinn (Slovakia) and a Russ Ford (Canada). Assuming the Ebay gods favor me and I get the latter two, they will represent the first cards I’ve owned from that hobby-defining set. These bits of old paper not only give the exhibit a little more gravitas as a whole, but when it’s all over I will have some gems to add to my personal collection.
The exhibit also gives me a chance to show off a little bit of my beloved collection of Cubans who made the leap to the majors. There have been eight Cubans who began their major league career as Yankees, most recently Amauri Sanit in 2011. The Mets have birthed the careers of four citizens of the forbidden island, the most notable of which was Rey Ordoñez. While Ordoñez was famously weak at the plate, rarely hitting more than a single home run in a season, he was a defensive mastermind at shortstop in the late ‘90s and early ‘00s, when the Amazin’s had one of the most exciting infields in baseball history. His partner in the middle of the diamond, Edgardo Alfonzo (Venezuela), will also be featured.
The players mentioned here really are just the tip of the iceberg. The exhibit will also include some of the brightest stars of today, including Gleyber Torres (Venezuela) and Miguel Andujar (Dominican Republic). Ron Gardenhire (Germany) makes an appearance, as do the Mastuis (Japan), Hideki and the less-successful Kazuo. There is even one Hall of Famer who is featured, buried in the dozens of other more obscure names. The quickest among you will figure out who that is almost instantly. The rest of you, well, I guess you’ll just have to stop by the college and find out. My currently unnamed exhibition opens February 18. I hope to see you there.