I was introduced to holograms by Desi Arnaz, Jr in 1983. Arnaz played Walter Nebicher, a nerdy police officer/computer whiz who craved more responsibility within the police department. In his spare time, Nebicher developed a powerful crime-fighting, helicopter-piloting, Tron-like-hologram hero he dubbed “Automan.” Unfortunately, Automan was canceled after only 12 episodes and I pretty much forgot about holograms until those marvels of dimensionality began to be incorporated into baseball card sets in the late 1980s.
On the other hand, lenticular cards had been a hobby staple since the 1970s. These plasticky “3-D” oddball issues were first introduced as a Topps test issue in 1968. Collectors most likely became aware of the 3-D technology, however when they found baseball cards in their Kellogg’s cereal boxes or discs on the bottom of 7-11 Slurpee cups. The Sportflics issue in 1986 introduced the lenticular card on a much grander scale, incorporating a headshot and a pair of action poses for individual players and cards featuring up to 12 different player photos. Regardless, the 3-D card has largely remained a novelty.
Whether a baseball card featured a holographic or lenticular element, the creator of that card was endeavoring to capture the action and movement of the game into a static format—what else could a collector ask for in a two-dimensional card? Many of these cards are downright magical.
Famous for its Grand Slam breakfast, Denny’s began producing a branded baseball card set with Upper Deck in 1991. That set featured a full bleed holographic image on the front and narrative statistical information on the reverse, along with—cleverly—the player’s career grand slam tally. One card was issued for each of the 26 Major League teams at the time. Denny’s followed a similar format in 1992 and 1993, the latter set growing to 28 cards with the addition of players from the Rockies and Marlins. These cards were given to patrons who ordered a Grand Slam breakfast.
In 1994, Denny’s and Upper Deck changed the format a bit and for the first time, the set included pitchers. The player’s grand slam tally was discontinued, perhaps because none of Jim Abbott, Kevin Appier and Cal Eldred had never hit a home run, let alone a grand slam. This year, the issue also included a special Reggie Jackson card that was reportedly distributed one to a location and was to be given away as a prize. This remains the rarest of any Denny’s issue.
The 1995 Denny’s set was the last for Upper Deck, the restaurant chain having partnered with Pinnacle for 1996. While the 1991-95 Upper Deck holographic issues simply added some shimmer and dimension to the card fronts, the 1996 set really brought home the bacon. Touted as “Full Motion Holograms,” these cards—when pivoted at just the right angle—actually depicted fluid action of a batter’s swing or pitcher’s windup. This issue also added a randomly inserted ten-card Grand Slam subset, with a parallel ten-card Grand Slam Artist’s Proof subset. The holographic image on the Grand Slam subset card was just a generic Grand Slam breakfast advertisement, ironically making the chase cards much less desirable than those in the base set.
Then, in 1997, the 24-hour diner chain turned the collecting world on its collective head. Not unlike the resplendent union of eggs and toast, a concept was hatched in which a single regulation-sized baseball card would include both lenticular and holographic elements. This intrepid design produced the most technologically ambitious baseball card ever—with roughly 71%* of the card’s real estate covered by special effects. The front of the card was oriented horizontally and featured crisp effects in front of or behind each subject. The back of the card contained biographical and career highlight information, along with a large holographic image of the player’s face. These cards were wrapped individually and were available for 59 cents to anyone who purchased an entrée and non-alcoholic beverage.
The set was comprised of 29 cards, one for each of the 28 Major League teams of the day, along with a special Jackie Robinson card in honor of 1997 having been the 50th anniversary of his having broken baseball’s color barrier. The Robinson card was based on Ernie Sisto’s depicting Robinson being tagged out at plate by the Pirates’ Clyde McCullough at Ebbets Field on May 2, 1951.
Oddly, Denny’s also produced a separately distributed card of Larry Doby, numbered “1 of 1.”** The Doby card was given out at the All-Star Game Fan Fest and National Sports Collectors Convention, both of which were held in Cleveland that year. [Additionally, there is anecdotal evidence that the Doby card was also available at Cleveland-area Denny’s locations, but this has not necessarily been substantiated.] As you may know, Doby broke the color barrier in the AL, playing his initial game for the Indians on July 5, 1947.
The 1997 Denny’s cards are fun to handle not only because of the movement and special effects on both sides, but also because a good number include other identifiable individuals. For example, John Jaha appears to be holding Wade Boggs on at first. The Sammy Sosa card has Jose Hernandez positioned oddly as Sosa appears to be mid home run trot. It appears that Jeff Bagwell is depicted on Tim Salmon’s card, Hal Morris appears on Derek Jeter’s card, Kirt Manwaring is seen on Andruw Jones’s card, and Jim Thome makes a baserunning appearance on Bagwell’s card, the only dual Hall of Famer entry in the lot.
Interestingly, Cubs catcher Scott Servais appears on two cards, those of Ray Lankford and Gary Sheffield. The Sheffield card is particularly interesting because the visible Wrigley Field bunting probably dates that photograph as having been taken during the Cubs opening series against the Marlins in 1997, not long before the set would have been finalized for manufacture.
The card fronts are also interesting to study for the differing ways in which motion was added and whether the perspective of that motion was in the foreground, background, or both. The majority of the cards depict the main subject as a solid, two-dimensional figure. Several cards, however, animate a portion of the player’s body, such as Mo Vaughn’s glove, Mike Piazza’s arm, and Frank Thomas’s left hand gripping a baseball to autograph.
Unfortunately, all this technology came at a price. While information regarding the cost to produce each of these cards has eluded the author, these cards could not have been inexpensive to produce and Denny’s ambition may have been the reason for the demise of their baseball card promotions. Alas, the 1997 set was the last that Denny’s would distribute.
Even now, Denny’s sets and singles are readily available and relatively inexpensive. The ambitious 1997 set is the pinnacle of baseball card fun, even more so than Automan ever was.
*I say that “roughly 71%” because the hologram features a slight rounded contour of a baseball, not a straight line. I am not going to do any math that requires me to calculate the area of an arc section.
**Denny’s having chosen to celebrate Jackie Robinson and Larry Doby may have been an effort to help rehabilitate their corporation reputation on the heels of paying $54.4 million to settle a class-action racial discrimination lawsuit.
Jeff Leeds, “Denny’s Restaurants Settle Bias Suits for $54 Million: Civil rights: Blacks complained of discrimination at the chain. Case marks new push for Justice Department,” Los Angeles Times, May 25, 1994.
Dwight Chapin, Greg Smith, “Highland Mint strikes gold in memorabilia market,” The Marion Star (Marion, Ohio), August 31, 1997.
I’d been sitting on the idea of this article for a while, and I finally decided to “check it off” when I saw an exchange between fellow SABR Baseball Cards blogger Matt Prigge and prewar savant Anson Whaley (with a guest appearance by Jeff Smith) on the first numbered baseball cards.
Interesting question. The N48 cards are generally cited as being from 1886. These featured women as baseball players and since those are some of the earliest baseball card sets in general, I’m thinking those could be it. No guarantees. Just a guess. https://t.co/5uO0MlW67B
Today the idea of numbered cards goes hand in hand with that of a (contemporaneously published) checklist. However, that was not always the case. While numerous examples abound, one famous numbered set with no checklist was 1933 Goudey. Likewise, we will encounter sets that had checklists but no numbered cards. This article will not be exhaustive, so don’t use it as a checklist. Rather, it will just highlight some of the variety attached to what in my collecting heyday was considered the most boring card in the pack.
Had I written this article a year ago, I might have assumed erroneously that on-card checklists were a hobby dinosaur. After all, why waste a card in the set when it’s easy enough to post a checklist online? However, the lone pack of 2019 Topps update I bought last fall included a surprise on the back of my Albert Pujols highlights card.
Though I have to imagine the past three decades of baseball cards have more of a story to tell, I’m going to quickly jump all the way back to what otherwise was the last time I remember pulling a checklist from a pack.
The very last packs of cards I bought before entering my long “real life took over” hiatus were in 1992. I don’t recall buying any mainstream sets that year, but I liked the Conlons and their close cousins, the Megacards Babe Ruth set, of which I somehow still have the box and three unopened packs.
The Ruth set had no checklist, but the Conlon issue had several, much in the style of the Topps cards of my youth, right down to the checkboxes.
While there’s something to be said for the familiar, I was an even bigger fan of the checklists I pulled from packs of 1990 Leaf.
Checklists adorned with superstar players was new to my own pack opening experience. However, as with most “innovations” in the Hobby, it wasn’t truly new, as we’ll soon see.
This was my absolute pack-buying heyday, and it was a great time to be a checklist collector, assuming there is such a thing. Yes, we had the standard checklist cards each of those years…
…but we also got team checklists, either on the backs of manager cards…
…or on the back of team cards.
As a quick aside, I’ll note that EVERY collector I knew in 1978 sorted his cards by team and used the team card to mark progress, making the set checklists (e.g., 1-121) completely superfluous.
Though I’m skipping most years, I’ll make a quick stop at 1974 to highlight two features in particular. In addition to the standard checklists AND team photo cards without checklists, the 1974 Topps set used unnumbered team signature cards as team checklists. (Aside: Though unnumbered cards had a mile-long history in the Hobby and are hardly extinct today, I rarely ran across them as a kid apart from the 1981 Donruss checklists or the 1981 Fleer “Triple Threat” error card.)
A final note on these team checklists: they did not include late additions from the Traded set (e.g., Santo on White Sox), so a separate “Trades Checklist” was provided also.
If I had to declare a G.O.A.T. checklist it would come from 1967-69 Topps, all possible inspirations for the 1990 Leaf card I showed earlier. (In fairness, 1984 Fleer might have played a role.)
At first glance I mistakenly thought these checklists brought more than just a bonus superstar to the mix. Take a look at entry 582 on the back of card below.
Could it be? Were we looking at the pinnacle of 1960s artificial intelligence technology: checklists with the self-awareness to check themselves off? Sadly, no. We were just looking at an abbreviation for “Checklist – 7th Series.” After all, this “smart checklist” was card 504 in the set and the ostensibly checked off card was a completely different card.
While our friends at Topps were having a ho-hum year, checklist-wise, as if there’s any other kind of year to have, checklist-wise, I do want to provide recognition to the efforts at Fleer. Haters of the Keith Shore #Project 2020 designs will probably not be fans, but I’m a sucker for this cartoony, colorful approach to checklists.
Even the title, “Player Roster,” is a nice twist, don’t you think?
The first appearance of numbered checklist-only cards from Topps came in 1961. Each checklist featured a baseball action scene on both the front and back of the card, and collectors can have fun trying to identify the players. (Side note: I believe these are the first ever game-action photos ever used by Topps.)
While the image on the back persisted across the set, the images on the front differed with each card. For example, here is Mr. Cub on the front of the second checklist. (Banks also appears prominently on the fifth checklist!)
Meanwhile in Philadelphia, Fleer introduced its first ever checklist cards.
The series one checklist featured Home Run Baker, Ty Cobb, and Zach Wheat well past their playing days, while series two did the same for George Sisler and Pie Traynor.
Incidentally, a similar approach was used 15 years later by Mike Aronstein in the 1976 SSPC set.
While Fleer had baseball sets in 1959 and 1960 as well, neither used checklist cards. However, this was not because the concept had not yet dawned on them. On the contrary, here’s a card from one of their more notable non-sport issues way back in 1959!
Note that the card pictured is #63. Cards 16 and 64 in the set are also known to have “checklist back” variations. However, the much more common versions of these same cards simply feature humorous descriptions or jokes.
I referred to the 1961 Topps cards as checklist-only because there were in fact numbered checklist cards issued in the 1960 set. The 1960 cards were the perfect (or anti-perfect) hybrid of set checklists and team cards, perhaps offering a glimpse of the “why not both!” direction Topps would ultimately adopt.
Shown below is the Braves team card, but the back is not a Braves checklist. Rather, it’s the checklist for the set’s entire fifth series!
But wait, how does that even work? The set only had seven series but there were 16 teams, right? Yes, somewhat inelegantly Topps repeated checklists on the back of multiple team cards. For example, the A’s and Pirates each had sixth series backs.
Ditto 1959 Topps…
We have to go all the way back to 1957 to see checklist-only cards. Aside from being unnumbered and landscape oriented, these cards check off all the boxes of the staid checklist cards I grew up with.
The 1956 set did the same but with an unusual turn, and not just the 90-degree reorientation. While the 1957 card shown includes the first and second series, the 1956 cards included non-adjacent series. The card below is for the first and third series, while a second card has series two and four.
The 1956 checklists also featured the first (that I could find) appearance of checkboxes. As such, it wouldn’t be wrong to regard (or disregard!) all predecessors as mere lists, unworthy of the checklist title.
The crumbiest card in the set?
It may have looked like Topps was blazing new trails with their checklist cards in 1956 and 1957, but take a close look at the second card in this uncut strip from the Johnston’s Cookies set, series one.
You may need to be the judge as to whether this qualifies as an actual card in the set vs a non-card that just happens to be the same size as the other cards.
On one hand, why not? On the other, how many collectors would consider the “How to Order Trading Cards” end panel a card?
When is a checklist not a checklist?
In 1950, Chicago-based publisher B.E. Callahan released a box set featuring all 60 Hall of Famers. The set was updated annually and included 80 Hall of Famers by 1956, the last year it was issued. At the very end of the set was what appeared to be a checklist for the set, but was it?
As it turns out, the card back wasn’t so much a checklist as it was a listing of all Hall of Famers. Were it intended as a checklist, it presumably would have also listed this Hall of Fame Exterior card and perhaps even itself!
Simple logic might also suggest that a checklist would have been particularly superfluous for cards already sold as an intact set; then again, stranger things have happened.
No checklist but the next best thing?
Prior to 1956 Topps a common way to assist set collectors, though a far cry from an actual checklist, was by indicating the total number cards in the set right on the cards, as with this 1949 Bowman card. Note the top line on the card’s reverse indicates “No. 24 of a Series of 240.”
Though this was the only Bowman set to cue size, Gum, Inc., took the same approach with its Play Ball set a decade earlier. The advertised number of cards in the set proved incorrect, however, as the set was limited to 161 cards rather than 250.
Goudey too overestimated the size of its own set the year before. The first series of 24 cards seemed to suggest 288 cards total…
…while the second series indicated 312!
Add them up and you have a set of 48 cards evidently advertised as having more than six times that number. In fact, some collectors have speculated, based among other things on the similarity of card backs, that the 1938 issue was a continuation of the 1933 (!) issue. Add the new 48 to the 240 from 1933 and you get 288. Perhaps, though the number 312 remains mysterious either way.
Tobacco card collectors are no stranger to the advertised set size being way off. Consider the 1911 T205 Gold Borders set for starters. “Base Ball Series 400 Designs” implies a set nearly twice the size of the 208 cards known to collectors and perhaps hints at original plans to include Joe Jackson, Honus Wagner, and many other stars excluded from the set.
As for its even more famous cousin, the 1909-11 T206 set. How many cards are there? 150 subjects? 350 subjects? 350-460?
The return of set checklists
While I’ve just highlighted several non-examples of checklists, there are several, probably dozens, of sets pre-1956 Topps that include checklists. The most common variety involved printing the entire set’s checklist on the back of every card in the set, as with the 1933 George C. Miller card of Mel Ott shown here.
As evidenced not only by Ott’s name but also brief biographical information unique to Master Melvin, the Miller set provided a unique card back per player in the set. As we travel further back in time to examine earlier checklisting, you’ll see that a far more common approach involved applying the same card back to multiple players in the set, often by team, by series, or across the set’s entirety.
The return of team checklists
It’s been a while since we’ve seen team checklists, but some great early examples come our way from the 240-card 1922 American Caramel set.
As the small print indicates, the set included 15 players apiece from each of the 16 teams, leading to an even 240 cards. As the Ruth back suggests, all Yankees in the set had identical backs, as was the case for all team subsets within the set. Rival caramel maker Oxford Confectionary produced a much smaller set (E253) the year before and was able to fit the set’s entire 20-card roster on the back of each card.
The golden age of checklists
Though neither the T205 nor T206 sets included checklist cards, many other sets of the era did. A fun one, checklist or no checklist, is the 1912 Boston Garters set. Note the back side (of the card, not the player!) lists the 16 cards in the set. (These are VERY expensive cards by the way. For example, the card shown is easily the priciest Mathewson among his various cards without pants.)
Another such set was the 1911 Turkey Red set where, as with the 1922 American Caramel cards, every card was a checklist card (subject to back variations). Low numbered cards had a checklist for cards 1-75 or 1-76, and high numbered cards had a checklist for cards 51-126.
The 1910 Tip Top Bread set provided collectors a much kneaded set checklist and team checklist for their hard-earned dough. Of course, this was by default since all the subjects in the set were all on the same team. While the checklist suggests numbered cards, individual cards have do not include a card number as part of the design.
The 1908-1910 American Caramel E91 cards similarly provided a checklist for each year’s set and the three teams that comprised it. For example the 1910 set (E91-C) listed Pittsburg, Washington, and Boston players.
And just to show these sets weren’t flukes, there are the 1909 Philadelphia Caramel (E95), 1909 E102, 1909-1910 C.A. Briggs (E97), 1910 Standard Caramel (E93), 1910 E98, 1911 George Close Candy (E94), and 1913 Voskamp’s Coffee Pittsburgh Pirates, and various minor league issues of the era.
Size isn’t everything
Another early approach to checklists is illustrated by the 1909-1913 Sporting News supplements.
The picture backs were blank, but sales ads provided collectors with the full list of players available.
By the way, the highlighting of “SENT IN A TUBE” provides a hint that collectors even more than a century ago cared at least a little bit about condition.
Obak took this approach a step further in 1913 by including a complete checklist in every cigarette box.
Though not technically a card, one could make some argument that this Obak insert represents the very first standalone checklist packaged with cards.
I don’t know enough about this 1889 (!) checklist of Old Judge cabinet photo premiums to say whether it was inserted with the cigarettes and cards as was the Obak or lived somewhere else entirely as did the Sporting News ad.
Either way, it won’t be our oldest example of a checklist.
Where it all began…almost
There aren’t many baseball card sets older than the 1888 Goodwin Champions and 1887 Allen & Ginter World Champions issues. Ditto 1887 W.S. Kimball Champions (not pictured). Take a look at the card backs, and it becomes evident that checklists are almost as old as baseball cards themselves.
And while most of the card backs I’ve seen from these issues are rather dull, here is one specimen that makes me smile.
It’s not the easiest thing to see, but I do believe the collector crossed Kelly off the checklist…
…before running out of money, running out of ink, or just moving on like any good player collector.
As my examples demonstrate, baseball card checklists have taken on many forms, and the question of which baseball card checklist was first is one that depends on your definition of a checklist and perhaps even your definition of a baseball card.
Though it’s risky to infer motives from men long since dead, it seems reasonable that the creation and publication of baseball card checklists indicates a recognition that the cards themselves were not simply throwaway novelties but items to be collected and saved. What’s more, this was evidently the case as far back as 1887!
Note also that these checklists weren’t simply offered as courtesies. They reflected the at least an implicit assumption that set checklists were more valuable (to the seller!) than other forms of advertising that would otherwise occupy the same real estate whether the product was bread, tobacco, or candy. A standard Hobby 101 education teaches us that cards were long used to help sell the products they were packaged with. What we see here is that the allure wasn’t simply a baseball player or his likeness on cardboard but also the set of such likenesses that kept the pennies and nickels coming.
I started this article with a question. Are checklist cards the most boring cards in the set? By and large, yes, I think they are. However, that’s only true most of the time.
For with every checklist, at least those put to purpose, there is that one moment of glory, of sweetness, and of triumph when the checklist—formerly mocked and yawned at—informs collectors young and old that their springs and summers were not spent in vain but rather in pursuit of the heroic, the noble, and the—holy smokes, it’s about damn time!—DONE!
These are strange times indeed. As we all withdraw from social interaction, at least in the near term, and find ourselves at home more often (though I’m home a lot!), there is some solace for those who have stuff – books, movies, and, for all of us present, cards.
For all we talk about cards in this space – what to collect, what we need, what we regret, what we envy – the true nature of this collecting business is the chords it strikes within us. There’s a nostalgia, for sure, a somewhat false recapturing of a youth that from today’s vantage point seems unblemished by trouble (though it really wasn’t at the time). There’s also the joy of having, and looking, at these totems that, at the very core, are created to make us happy.
I was once told that “things don’t love you back,” and, while that’s true, it also isn’t. The things we love reflect a kind of love back to us. There’s an emotion that is tangibly true when we look at cards. It’s real and not to be dismissed.
There’ll be times in the coming weeks that’ll result in many of us feeling lonesome. I saw a Doctor on TV last night warning that there’s a cost to isolation and we should all make sure to stay in touch, somehow.
Take some comfort in your cards. That’s what they’re there for.
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.
I like collecting autographs. In those years in the early 1990s when the hobby exploded and the number of available sets to purchase had jumped from three to at least seventeen, one of the things that kept me sane was collecting autographs.*
*I prospected at college games. Pursued minor league coaches and managers. Went to Spring Training. Hung over the rail at Candlestick. Sent out some through the mail requests. Hit a couple card shows.
In many ways my card collecting hobby transformed into a way for me to be able to pull a card of any player at any time. No this was not efficient, but in those pre-internet days it was better than betting on my local shop having a card of the player I was planning to get. Having a couple years of complete Topps sets was a great way to be sure I had cards of almost everyone who played in the majors.
Getting into autographs also meant that I had to make a decision about hobby orthodoxy. In those early 1990s there were a lot of rules. Rules about what cards to collect.* Rules about how to store them.** And rules about what condition to keep them in. Chief among the condition rules was that writing on a card was bad even if it was an autograph.
*Prospects, Rookies, Errors, and inserts.
**Rubber bands out. Binders OK. Toploaders better. Screwdown cases best.
It didn’t take me long to decide that rule was stupid but it’s also part of a larger debate that we still have in the hobby. For a lot of collectors, writing on a card does indeed ruin it. Even if it’s an autograph. For others like me, there are many cards which are enhanced by getting them signed. That there’s no one way of collecting is great but it feels like the autograph divide is one where neither group understands the other.
The appeal of cards as an autograph medium is pretty simple since it piggybacks on the same appeal as baseball cards themselves. They’re mass-produced photographs so they’re usually both the cheapest and easiest thing to find. They label who the subject is and have information about him on the back. They’re small enough to carry in a pocket or send through the mail in a regular envelope. And after they’re signed they’re easily stored and displayed.
But that doesn’t mean that just any card will do for an autograph. One of the fun things about talking autographs with other collectors is discussing what kinds of cards and designs we prefer to get signed.
First off, things we want to avoid. It’s inevitable that you’ll get cards where a player has signed on his face. Cards are small and there’s almost always a time crunch. Avoiding closely-cropped portraits and picking a card that doesn’t encourage face signing is an important factor to keep in mind.
Dark backgrounds are also dangerous. Especially if you’re sending a card out through the mail or otherwise can’t control the pen being used. When I was a kid my hands were tied because silver sharpies didn’t exist and I was limited in my card options. Now though I just assume that the dark backgrounds won’t work.
What I did end up liking? Simple photo-centric designs with the bare minimum of design elements. A name. A team. A border. Nothing else. These designs often underwhelmed me as cards* but I found that I really enjoyed them signed.
*As my photo and print literacy has improved I found myself appreciating the photos and design in many of these sets.
In many ways I got into the hobby at exactly the right time as the early 1990s were a heyday for these kind of designs. 1989–1993 Upper Deck and 1988–1993 (except 1990) Topps in particular were tailor-made for my autograph preferences and are still sets I return to when I can.
The rise of full-bleed photos also occurred during this time. I was scared of gloss as a kid but have started looking for these designs whenever I can now. They’re an even more extreme point in my “simple photo-centric design” preference but the key for me is that I like the ones which adhere to the simplicity.
A lot of the full-bleed designs are anything but simple with crazy graphics and other stuff going on. But the ones where the designs are essentially just typography? Beautiful. In the same way that many of the guys who don’t like signed cards prefer signed 8×10s, these function more as signed photos than anything else.
To be clear, I’m not against more colorful designs. They just require me to think extra hard about the way things will look. In addition to considering how the autograph will work with the image there’s the additional concern about how it will interact with the design.
These cases usually result in an autograph which isn’t as pronounced but ideally still combine a bright colorful design and a nicely signed image into a pleasant and presentable result.
With these less-simple designs there’s the possibility for the wonderful occurrence when everything works together perfectly and results in an even stronger look. Would these look better just as photos? Maybe. But for me the complete package of a strong design and a perfect signature/photo combination is something I especially enjoy.
And sometimes the point isn’t how things will look but just about getting a specific photo signed because it’s funny, important, or both. These are the requests I enjoy most because I can talk about the specific photo being one of my favorites and why I chose this specific card to get signed.
The key for me is to be as intentional as possible with my card choices. An important season. A specific team. A nice photo. A special event. A favorite design. Or just something silly like a picture of a player milking a cow.
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!
One of the coolest cards on my Dr. K “Ten Most Wanted” list as of last week was his 1991 Topps Cracker Jack 4-in-1 panel. (And please get in touch if you can help with any of the others!)
As a student of the master, I try hard not to pay more than a buck or two for any of the cards in my Gooden collection, but I finally bit the bullet and threw real money at this Cracker Jack panel.
I was particularly swayed by Doc’s co-stars, three of my favorite players of the era: Tony Gwynn, Eric Davis, and Ken Griffey, Jr.
As is the case with many panel-based sets there were in fact multiple panel variations featuring different player combinations.
It didn’t seem to take co-chair Nick more than a minute to figure out that there was something very not random about these player combinations. And sure enough, they all point to a larger sheet with exactly this neighborhood around Gooden.
Before going too much further into sheets or panels I should pause and provide more background on the individual cards themselves.
Like the regular cards but smaller
The 1991 Topps flagship set had the era-typical 792 cards and nearly as many spin-offs as Happy Days. Think Topps Desert Shield for example. Two of them featured tiny cards: the 792-card Micro set and the 72-card Cracker Jack set that itself was divided into a Series One and Series Two, each numbered 1-36. The Cracker Jacks are occasionally referred to as Micro cards with different backs, but this isn’t quite correct since card size differs as well.
Speaking of backs, here is what the Cracker Jack card backs look like. Series One is on the left, and Series two is on the right.
Apart from the different colors used, you’ll notice the second card also has “2nd Series” in the top left corner whereas the first card does not indicate any series at all. This suggests Cracker Jack (or Borden for you corporate types) originally planned only a single series of 36 cards and then added another due to the popularity of the initial offering. The star power of the first series checklist vs the second also seems to point in this direction.
The popularity of the promotion is borne out by a highly informative (if occasionally inaccurate) business article on the Borden-Topps partnership that even includes sales figures for each series:
Series One: 75 million boxes
Series Two: 60 million boxes
Based on the size of the set, this translates into about 2.1 million of each first series card and 1.7 million of each second series card. Back in 1991 we would regard this as “limited edition” with the second serious “extra scarce.”
SOURCE OF 4-in-1 PANELS
Though I’m sure the truth is out there, I can find no definitive documentation on the source of the 4-in-1 panels. Theories I’ve run across include–
Distributed to dealers or show attendees as promos
“Handmade” from full sheets of 1991 Topps Cracker Jack
Part of a mail-in offer
I’ll regard the first two as most viable at the moment. Mail-in seems less likely since Cracker Jack already had an offer in place for mini-binders.
I’ll offer one other very weak clue that works against both the mail-in and promo theories: the size of the borders.
On the left is an actual 4-in-1 panel. You’ll notice the interior borders are about twice the thickness of the outside borders. The card really doesn’t look bad, but I would think if you were designing the card intentionally as a 4-in-1 you might even out the borders to achieve a cleaner look. (And yes, I did say “very weak” clue.)
Regardless, the most fun option is to assume the four-in-one panels were produced on the secondary market from uncut sheets. Of course when I say “fun,” I don’t mean “normal people fun.” I mean mathematically fun!
Anyway you slice it
For the moment let’s assume that uncut sheets simply cycle through the 36 cards in the set over and over again in the same order until the end of the sheet is reached. Let’s also assume that our sheet cutter doesn’t just cut any old 2 x 2 array from the sheet but proceeds methodically from the beginning of the sheet and works his way left to right, up to down. Finally, let’s assume cards are sequenced in numerical order.
Here is what this might look like for a sheet that is 18 cards across and 10 cards down the side. What you’ll notice, as in the highlighted blocks of 5-6-23-24 panels, is that there are no variations produced by the method. If card 5 were Dwight Gooden for example, he would always have the same three co-stars.
Without breaking out any fancy number theory, you might correctly surmise that the rather ho-hum result has something to do with the sheet repeating every two rows, which only happens because we conveniently matched the number of columns to exactly half the set length.
Now let’s run the same cut against a sheet that’s only 16 cards across. It stands to reason that at least something more interesting should happen here. Sure enough, the new configuration produces two Gooden panels: 5-6-21-22 and 25-26-5-6.
While two variations is nice, it’s not four. If you think about it, one of the things limiting our variations here is that we always see 6 paired with 5, which is another way of saying we never see 4 paired with 5. (Alternatively, we can say that 5 is always on the left and never on the right.)
So long as we have an even number of columns, this sort of thing will always be true. Therefore, our only hope at hitting four variations would seem to be having an odd number of columns. The example below uses 15 and sure enough pairs 4 with 5 some of the time. Unfortunately, we still failed to reach the theoretical maximum of four variations.
Is it possible we just got unlucky with our odd number? Maybe so. Let’s try this one more time and go with lucky 13.
Alas, we remain stuck at only two variations. Is it possible that there’s simply no solution involving methodical cuts and that achieving more variations will require something more like this?
The good news is we have our four variations. The bad news is we end up with a lot more waste.
Is there a Methodical solution?
Let’s take one more quick look at the actual Gooden panels that started this post. In case you missed it the first time, notice that Doc finds himself in a different quadrant on each of the panels. For example, he’s in the upper left position on the Gooden-Boggs-Griffey-McGwire panel, and he’s in the upper right position on the Gwynn-Gooden-Davis-Griffey panel.
Under our assumptions about how uncut sheets should be constructed, the problem of a methodical cut yielding four variations is equivalent to the problem of a methodical cut putting Doc in each of the four panel quadrants.
Looking back at our earlier examples, we can see that our first time through Doc was only in the upper left, which is why we had only a single variation. The next time, Doc was upper left and lower left only. Finally, in our last two methodical efforts, Doc was only upper left or lower right.
What would our sheet need to look like for Doc to end up in all four panel quadrants? We can attempt to solve the problem by examining one quadrant at a time, starting with the upper left quadrant.
For card 5 to end up in an upper left position, we need two things to happen.
5 needs to be in an odd numbered row since these rows correspond to upper halves of panels.
5 needs to be in an odd numbered column since these columns correspond to left sides of panels.
It was an otherwise boring example, but you can check these properties against the first table we looked at.
What we need then is a formula or rule that helps us determine which rows and columns 5 will end up in based on the number of columns in the sheet. WARNING: This part will get a little complicated and mathy. Feel free to skip to the section titled “DARN IT!” if the math gets too distasteful for you.
Let’s assume our sheet is N cards across and has M rows of cards. Then somewhat generally our sheet looks like this. Almost.
I say almost because we haven’t yet accounted for our numbering restarting every time we reach 36. For example, when N = 18 and M = 10, we don’t want to see our sheet numbered 1-180. Exactly as in our first example, we want to see our sheet numbered 1-36 five times in a row.
A mathematical trick that will get us what we need is called modulus (or sometimes “clock arithmetic”). In this case, we just need to replace each sheet entry with its equivalent, modulo 36. (Technically, this still isn’t quite right since it would replace 36 with 0, but we can simply keep that oddity in our back pocket for now.)
Therefore, our new generalized sheet looks like this:
Now that doesn’t look awful, does it? Okay fine, don’t answer that! And of course, I’m about to make things even a little more complicated since I can’t do a heckuva lot with all those dot-dot-dots taking up most of the sheet. I’d rather have variables, even if it means going from two letters (M and N) to four.
For example, if I am in row j and column k, I want to be able to say the number in that spot is [(j – 1)*N + k] mod 36. That way, if I want to know if the card is of Dr. K, I just need to check to see if [(j – 1)*N + k] mod 36 = 5! Simple, right?
Now let’s go back to the two conditions necessary for Dr. K to occupy an upper left panel position: odd row and odd column, which algebraically just means j and k are odd.
Of course (!) when j and k are odd, then [(j – 1)*N + k] is also odd regardless of the value on N, so there is at least hope we will have solutions for correctly chosen values of j and k no matter the width of the sheet.
What about if we want Doc to appear in the upper right, which I’ll note we have not yet seen in any of our examples? The conditions for this are–
5 needs to be in an odd numbered row since these rows correspond to upper halves of panels.
5 needs to be in an even numbered column since these columns correspond to right sides of panels.
Algebraically then, we know j is odd but k is now even. Going back to our complicated looking expression, that makes [(j – 1)*N + k] even no matter what value of N we choose, and this guarantees we will never have [(j – 1)*N + k] mod 36 = 5.
In case your eyes are glazing over, this means Doc will never end up in the desired position, which in turn means we will never get our four variations no matter what size sheet we go with. We could still look at the two lower quadrants but after suffering such a fatal setback one might justly wonder what the point would be.
Well imagine that! No matter what size we make our sheet, there’s no way to arrive at four Doc variations following a methodical cutting strategy. Two is as good as it gets. And yet, I started this article by showing you four actual examples. So what gives?
There are really only two options, assuming we’re still in the “panels produced from uncut sheets” camp.
The cutters didn’t follow a methodical approach, instead just cutting up sheets willy-nilly to achieve desired results.
The sheets didn’t follow the same rules we did.
The first option is hard for me to swallow, but the second one is equally baffling. Yes, one could imagine laying out the sheets so that we didn’t simply have the complete set repeated over and over. For example, we might imagine the insertion of a double-prints within the set.
The problem is that even the insertion of a double print doesn’t generate new solutions unless it were only sometimes inserted. (For example, imagine the first instance of the set on the sheet included two card 10s, but none of the other instances did. Possible but weird, right?)
Cheating, PArt ONE
Okay, what the heck. Let’s just look at an uncut sheet, shall we? Perfect, let me just get out my microscope!
Kidding aside, the sheet has everything we needed to know. First off, it’s 20 cards across and 22 rows down for a total of 440 cards, which is enough to hold 12 complete sets with 8 cards left over. We can also (barely) see that the sheet doesn’t even come close to following the logical layout originally assumed and later dismissed. I’ll highlight this by placing a thick red border around every Nolan Ryan card since his card is both easy to spot and card #1 in the set.
Sure enough, there are 12 Ryans, but their appearances on the sheet become more and more irregular as we progress down the sheet. Life gets more sane once we add nine more rectangles.
Each of these 6 x 6 blocks is itself a complete set, always following a consistent sequence. For what it’s worth, that sequence is:
We can further simplify the sheet by making three more rectangles. The upper orange rectangle houses the first two columns of a set, the middle orange rectangle houses the middle two columns, and the bottom orange rectangle houses the last two columns. Collectively they add up to the tenth complete set in the diagram.
All that remains then is to understand the last four rows of the sheet.
Each of the green blocks at the bottom represents the upper four rows of a complete set, which the two yellow rectangles then complete perfectly. Finally, the pink rectangle gives us our eight leftover cards, which match up with what we might call the upper left corner of the set.
That’s all well and good, but of course what we really want to see is whether this sheet layout produces all four Dr. K variations. At least that’s what I’m here for!
One thing we can say without a doubt is that the actual sheet layout is nothing like our original assumptions. With all the cockamamie patchwork we might justifiably exclaim, “Aha! THAT’s the crazy kind of layout you need to get all those variations!”
But guess what?
Cutting the sheet methodically into 2 x 2 panels, we find only all twelve Dr. K panels yield only a single variation (see yellow stars), the exact one I bought.
Cheating, part two
The only thing for me to do was ask the seller, who specializes in oddball cards and has always been a great guy to do business with. While his answer may not hold for all 4-in-1 panels like mine, he let me know, sure enough, that the particular panels in his own inventory came from uncut sheets.
I then asked if he did the cutting personally since I’m still surprised someone would resort to the unorthodox method it would require to produce all variations. He let me know he was not the cutter and had received his rather extensive lot as part of a larger purchase he made.
Perhaps one of my two readers who’s made it this far has direct knowledge in this area, in which case I hope they share that knowledge in the comments. In the meantime, I’m left believing that somebody somewhere wanted variations so badly that they were willing to live with a little waste.
Either that or…
what really happened
So I was thinking about the easiest way to produce all variations for all players with a minimum of waste. Taking Doc as an example, we know he only appears in the upper right quadrant when methodical cutting is applied. However, moving him from top to bottom just requires skipping a row. Similarly, moving him from right to left just requires skipping a column.
Treating the blacked out portion of the sheet below as throwaway, a methodical cutting of the remaining sheet portions will generate a complete master set of all 36 x 4 = 144 panels. I’ve highlighted one of each Gooden panel to illustrated this. (Note also that my black lines could have been just about anywhere and still done the trick. They only requirement is that each quadrant remain large enough to generate a panel of the desired player.)
So yes, I do believe that’s what happened, and the only question that remains for me is whether the cutter planned all this or just stumbled upon it by accident. As for that I’ll offer that many uncut sheets end up with a bad row or two due to creasing. I’ll also offer that bad cuts here and there are possible when chopping up an entire sheet. What this suggests to me is there are at least two ways the original cutter may have unwittingly generated a master set all my math told me was impossible!
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.
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.