42 in ’47: The Baseball Cards of Jackie Robinson’s Dodger Debut

Author’s Note: This article is part of a larger SABR Century Committee effort commemorating the 75th Anniversary of Jackie Robinson’s historic 1947 season. Head here for the full series.

When Jackie Robinson trotted out to first base on April 15, 1947, his steps were no less historic than those of Neil Armstrong just over two decades later. Baseball’s senseless and shameful Color Barrier had at last been breached and with it the customs and traditions of Jim Crow America itself were on notice. This is not to say equality had come to Baseball. Far from it as even the Dodgers merely tiptoed into integration while several other teams waited a decade or more to add their first Black player. As for managers, eleven more men after Armstrong would leave footprints on the Moon before a single Black man would take the reins of a Major League team.

Even today, as Jackie’s legacy is rightfully celebrated, it’s fair to wonder whether a modern Jackie Robinson would even choose Baseball, just as it’s fair to wonder whether any teams would notice him and sign him if he did. Were he living in the Dominican Republic, absolutely, but in his birthplace of Cairo, Georgia, or his childhood hometown of Pasadena, California, who’s to say? While a modern Jackie could win games for a general manager of any color, there are none in front offices today who look like him.

The same could be said for domestic baseball card issues prior to 1947, only one of which featured a Black player. While it would be easy to discount the utter lack of Black faces as merely reflective of the times, such an explanation fails to account for the many Black boxers who made their way onto trading cards, going back to at least 1909. Ultimately, the whiteness of baseball cards was due solely to the whiteness of what was then perceived (and enforced) as Organized Baseball. Jack Johnson, Joe Jeannette, and Joe Gans were professional boxers. The Philadelphia Stars, Newark Eagles and Homestead Grays meanwhile? These were semi-pro.

Thus the 1947 season brought with it not only the integration of Baseball but (several rungs down the ladder of importance) the opportunity to integrate baseball cards as well. All that was missing were the baseball cards themselves!

While today we take it for granted that a new baseball card set (if not dozens of different ones) will come out every year, such was not the case in the 1940s. Following the three-year run of Gum, Inc., and its Play Ball sets from 1939-41, the War and other national priorities left American baseball without a major set to chronicle its players until 1948, when Gum, Inc., baseball cards returned to shelves, this time under the Bowman name.

In the meantime, where baseball cards were produced at all, they most often took the form of smaller regional issues, often connected to food or other household products, cards that today many collectors classify under the umbrella of “oddball.” As such, this review of Jackie Robinson baseball cards from 1947 will feature bread, slacks, and even cigarettes but not a single stick of gum.

1947 BOND BREAD

Bond Bread will feature in this article twice. This first instance is to highlight a 48-card release comprised of four boxers and 44 baseball stars. The selection of baseball stars included Ted Williams, Joe DiMaggio, and Stan Musial but most notably a baseball card of Brooklyn Dodgers rookie Jackie Robinson.

Cards were packaged in loaves of Bond Bread, and at least one theory for their rounded corners is that the cards were less susceptible to damage that way. Importantly for collectors today, the rounded corners help distinguish these cards from near-identical versions that emerged as a standalone product sold as “Sport Star Subjects” in 1949. The square cornered versions are far less collectible, though widespread misidentification, including by a prominent grading company, has created sufficient confusion to elevate prices among uninformed buyers.

While both the Bond Bread and Sport Star Subjects cards have blank backs, a third version of the Robinson card features a back that’s anything but blank.

“1947” ELGEE PRODUCTS

Precise dating for this issue is unknown and may well be after 1947. A mix of baseball and movie star photos, the baseball images match those of the Bond Bread issue but are easily distinguished in at least two ways. One, they are perforated. Two, their backs include other cards from the set or, in some cases, advertising. The Robinson card, for example, features actor James Cagney on the reverse.

As with the Sport Star Subjects, these cards are also frequently misidentified as Bond Bread cards, even by third party grading companies and auction houses. Post 391 in this Net54 Baseball Forum thread shows the front and back of an uncut sheet, including the ELGEE branding. Post 386 in the same thread provides additional background on the company.

1947-50 BOND BREAD JACKIE ROBINSON

In addition to the 48-card set above, Bond Bread also released a second set of 13 cards dedicated entirely to Jackie Robinson. The set is catalogued as a 1947 issue. However, independent research by collectors Mike Knapp, Shaun Fyffe, and Michael Fried, which I’ll attempt to summarize here, has produced a broader timetable for the cards while also providing information on distribution.

The set began 1947 with a single card featuring a signed portrait of Jackie, a brief bio, and a product testimonial. This card was not distributed in packaged loaves but rather was given out by store owners (with free slices of bread!) to promote Bond Bread among African American consumers. (Post 49 in this Net54 Baseball Forum thread includes an article from the New York Amsterdam News detailing the marketing strategy.)

From there, it’s unclear whether any of the set’s remaining twelve cards dates to 1947. The aforementioned collector-researchers speculate subsequent releases of three or six cards at a time taking place sometime between 1947 and 1950, though I lean more toward the cards being issued one at a time. Either way, a clue that helps group the cards is the advertising on the back.

These six cards, assumed to be the earlier of the twelve, exhort consumers to eat the same bread as Jackie. Fielding poses show a first baseman’s mitt, which Jackie would have used primarily in 1947.

Before proceeding to the second group of six, I want to highlight two photos in particular, one of which may be very familiar to non-collectors. Though the background has been removed and Jackie has even changed teams, the card of Jackie waving with his glove draws its image from this iconic photograph.

A second card among the six does some early “photoshopping” of a Montreal photo as well.

Much later in this article we will see yet another occasion where a Montreal photo is doctored for use on a Brooklyn card. For now, we will return to the other six cards in the set. Note here that all fielding poses show a standard infielder’s glove.

The “smoking gun” that places these cards (or at least one of them) after 1947 comes from the image on the last card, believed to source to a photograph taken just after this one. (Note Jackie’s cap has fallen a bit farther on the card and his body has separated more from his trailing arm.) If so, the card could not have been issued any earlier than July 2, 1949, the date the photograph was taken.

With the set no longer confined entirely to 1947, we arrive at several possibilities for its overall release schedule. Barring further information, I’d be inclined to settle on the first group of six cards coming out across the six months of the 1948 baseball season and the second group of six following suit in 1949.

“1948” OLD GOLD CIGARETTES

The situation with Jackie’s Old Gold cards is precisely the opposite as here collectors regard what may be two cards from 1947 as if they came out the following year.

As Anson Whaley notes in his article for Sports Collectors Daily, two clues on the card backs suggest a 1947 release.

  • Robinson is listed as 28 year old, which was only his age through January 30, 1948
  • His 1947 Rookie of the Year Award (announced September 19, 1947) is not listed among his career highlights

Certainly each of these clues could merely point to bios written ahead of time, hence do not point definitively to a 1947 release of the actual cards. Still, absent any information affirming a 1948 release, the clues are at least intriguing.

1947″ PLEETWOOD SLACKS

Continuing the theme of uncertain dates is this rare 5″ x 8″ promotional issue from Pleetwood Slacks. While catalogued as a 1947 issue, I am unable to find any source that provides independent corroboration. Notably, the Standard Catalog of Vintage Baseball Cards indicates that “the [1947] date of issue cited is conjectural.”

When I do find “hits” on Pleetwood Slacks, never mind Jackie, they only come in the Black press of late 1948, specifically October through December. Here is a typical example.

Alabama Citizen, December 18, 1948

Perhaps information is out there somewhere establishing the Pleetwood Slacks card as a 1947 issue. In the meantime I’d just as soon date it to late 1948 where timing it’s would better match the print advertising campaign for the brand.

1947 CHAMP HATS

Collector and Hobby historian Bob Lemke (1941-2017) featured this 8 x 10 “card” as a new find on his blog in 2015.

As detailed on Bob’s blog, both Bob and the previously mentioned Sean Fyffe regarded 1947 as the most likely year for this piece.

1947 DODGERS TEAM PHOTO PACK

Many teams sold photo packs of their players and other personnel, going back to at least the 1930s. The 1947 Brooklyn Dodgers photo pack consisted of 25 photos, 6” x 9” in size, including this one of Jackie Robinson.

The image is a sharper and cleaner version of the ones used on his Bond and faux Bond issues and a reminder that many cards of the era used photos provided by the teams or their photographers. Furthermore, the presence and identical placement of Jackie’s signature on the Bond and pseudo-Bond cards leads me to wonder if those cards didn’t originate from the original photograph but from this photo pack card. Either way, I suspect the photo pack Jackie is the earliest of his various 1947 issues.

1947-66 EXHIBIT SUPPLY COMPANY

One of the most common and (formerly!) affordable early baseball cards of Jackie Robinson is his 1947-66 Exhibit Supply Company (Chicago, IL) postcard-sized issue. However, despite “1947” right there in the naming of the set, there is no evidence that Jackie’s exhibit cards date back that far.

Rather, the “1947-66” label simply means that the overall set of 300+ different cards spanned 20 years. The presence of later stars such as Aaron, Banks, and Kaline suffice to show that “1947” hardly applies to all players.

The Keyman Collectibles site provides a guide for the precise dating of Exhibit cards. Having reviewed more than a dozen so far, I have not yet run across a Robinson any earlier than 1948.

Side note: A 1948 release would have left plenty of time to find pictures of Jackie as a Dodger. However, the photograph used on the Exhibit card, as was the case with two of the Bond Bread cards, dates to 1946, as evidenced by Jackie’s Montreal uniform.

SUMMARY: THE JACKIE ROBINSON CARDS OF 1947

All told I’ve reviewed 22 different Jackie Robinson cards correctly or incorrectly associated with his Barrier Breaking debut season in Brooklyn. From this number, there are only three where I believe the 1947 dating is firmly established:

  • 1947 Bond Bread multi-player set
  • 1947 Bond Bread Jackie Robinson set – portrait with facsimile autograph
  • 1947 Brooklyn Dodgers photo pack

For the reader only reasonably acquainted with the world of collectibles, it might seem a tame question to then ask which of these cards is Jackie Robinson’s rookie card. Could it really be that the answer is none of them!

EPILOGUE: JACKIE’S ROOKIE CARD

Modern collectors focus heavily (if not obsessively!) over the notion of a rookie card, particularly when the player concerned is a Hall of Famer. In a simpler world, a player would have one card for each year of his career, and the first such card would be his rookie card. In the real world, however, the situation is far murkier, complicated by any number of wrinkles, depending on the collector.

For example, any of the following may be treated as a disqualifying when it comes to rookie card status.

  • cards that pre-date a player’s major league status (e.g., a minor league card)
  • cards from minor, regional, unlicensed, or non-US releases
  • cards that aren’t really baseball cards (e.g., a postcard, mini-poster, or bobblehead)
  • cards with uncertain release dates

In the case of Jackie Robinson, all four of these come into play. While I did not feature it in this article due to its 1946 issue date, there is a highly sought after Parade Sportive newspaper insert featuring Jackie Robinson, which checks off each of the first three bullets above.

As for Jackie’s Bond Bread cards, many collectors regard the releases as too minor to warrant rookie card status. Add to that for many of them an uncertain release date as well. Ditto for Elgee Products, Old Gold Cigarettes, Pleetwood Slacks, and Champs Hats, with the latter two having only questionable baseball card status as well.

The Brooklyn photo pack card, which may well be first of Jackie as a Dodger, also challenges the most rigid definitions of “baseball card” while adding the potential disqualifier of a regional release. Finally, the Exhibit card is not quite a real baseball card to many collectors while also carrying uncertainty as to dating.

Also lacking card status to most collectors are the various Jackie Robinson buttons and pins that were popular among fans in the late 1940s. I omitted lengthier treatment in this article but will show six of them here.

Source: Robert Edward Auctions

The result of all this is that many collectors would not consider any of the Jackie Robinson cards profiled so far to be Jackie’s rookie card. Instead, the coveted label is most often applied to Jackie’s card from the set known popularly in the Hobby as 1948 Leaf.

“This is the only true rookie card of baseball’s first African-American representative and hero to all,” according to PSA, the Hobby’s largest grader and authenticator of trading cards.

Though my revenue, Hobby or otherwise, is a far cry from that of PSA, I nonetheless challenge this assertion. For one thing, despite the typical designation of the set as “1948 Leaf” (or sometimes 1948-49 Leaf), there are compelling reasons to believe the Robinson card (if not the entire set) dates to 1949.

  • 1949 copyright date on the back of the card
  • Reference to Jackie’s 1948 statistics as “last season” on the back of the card
  • Standard Catalog entry indicating the set was “produced by Chicago’s Leaf Gum Co. for issue in 1949”
  • Hall of Fame and Beckett cataloguing of card as 1949

Erroneous dating aside, I’ll also note that the Leaf cards, at least of some players, were unlicensed, which can often be a rookie card disqualifier. That said, collectors tend to give the set a free pass on this point.

At any rate, if we regard the Leaf card as a rookie card, we should then confer rookie status on Jackie’s other significant release of the same year, issued as part of the 1949 Bowman set of 240 cards.

Alternatively, we might turn our attention to a card that genuinely does date to 1948, Jackie’s Sport Thrills card from Swell Bubble Gum.

From a rookie card perspective, this card beats Leaf and Bowman by a year, has unambiguous baseball card status as opposed to some of the other 1947-48 contenders, and originates from a more major release than its contemporaries and predecessors. At the same time, not all collectors treat the Sport Thrills set as major enough, and its focus on highlights rather than players equally reduces the appeal.

Ultimately, the question of Jackie’s true rookie card is a complicated one, confounded by the uncertain or erroneous dating of his early cardboard and curiously subjective notions like “major release” and “baseball card.” On one hand the lack of a definitive rookie card opens the door for individual collectors to apply their own criteria and judgment. On the other hand, the same fuzziness creates opportunities, intentional or accidental, to misrepresent and misinform. In the end, perhaps the only truism when it comes to Jackie’s rookie cards is this: If you have to ask, you can’t afford it!

Baseball cards of the Negro Leagues

There are many directions that one could go with this topic, two of which have already been well covered by SABR Baseball Cards authors and two of which would be very welcome here.

This article, however, will look at the first widely available baseball cards produced in the United States to showcase Negro Leaguers as Negro Leaguers. In other words, a card of Satchel Paige as a Cleveland Indian (1949 Bowman, 1949 Leaf) or St. Louis Brown (1953 Topps) would not qualify while a card of Satchel Paige as a Kansas City Monarch most definitely would. Should a working definition of “widely available” prove helpful, take it to mean there is nearly always at least one card from the set available on eBay.

Hall of Fame postcards (1971 to present)

I’ll leave it to readers individually to decide whether to count postcards as baseball cards. If you are in the “no” camp, feel free to skip this first entry. If you are in the “yes” camp then we’ll kick things off with the postcards issued and updated annually by the National Baseball Hall of Fame.

While one could quibble that more than half the text on the Paige card, first issued in July 1971, relates to his post-Negro Leagues career, I’ve chosen to count this postcard because A) Paige was selected by a special committee on the Negro Leagues, and B) he is not shown in an Indians, Browns, or Athletics uniform. The Gibson postcard, which carries no such ambiguity, was first issued in July 1972, as was a similar postcard of teammate Buck Leonard.

1974 Laughlin Old-Time Black Stars

Bob Laughlin, also known for several collaborations with Fleer, independently produced this 36-card set in 1974. At time of issue, Satchel Paige (1971), Josh Gibson (1972), and Buck Leonard (1972) were the only Hall of Famers in the set. (Cool Papa Bell was inducted in 1974 but after the set was released.) Now an impressive 22 of the 36 cards in the set depict Hall of Famers, with all 14 of the remaining presenting compelling cases for enshrinement.

1975-76 Great Plains Greats

Thanks to Ted Chastain in the reader comments for identifying this 42-card set. Per the Standard Catalog the cards were produced by the Great Plains Sports Collectors Association. Cards 1-24, which includes Cool Papa Bell, were produced in 1975 and sponsored by Sheraton Inns. Cards 25-42 were produced the following year and sponsored by Nu-Sash Corp.

1976 D&S Enterprises Cool Papa Bell

In 1976 John Douglas of D&S Enterprises issued a 13-card set in conjunction with and James “Cool Papa” Bell, who was the subject of the set.

Interestingly, one of the cards in the set is a “card of a card” featuring Bell’s 1974 Laughlin card, updated with facsimile autograph.

1976 Laughlin Indianapolis Clowns

A second Laughlin set of note is his 42-card 1976 Indianapolis Clowns issue, mostly coveted by collectors today for its card of a young Henry Aaron.

Other notables in the set include Satchel Paige, Oscar Charleston, and basketball legend Goose Tatum.

1976 Shakey’s Pizza

In 1975 pizza chain Shakey’s issued a small 18-card set of Hall of Famers, followed up in 1976 by a much larger set featuring all 157 members of the Hall (and a second Robin Roberts card) in order of their induction. The latter set therefore included several Negro League stars: Satchel Paige, Josh Gibson, Buck Leonard, Monte Irvin (New York Giants photo), Cool Papa Bell, Judy Johnson, and Oscar Charleston.

Not counting the Hall of Fame’s own postcards, which may or may not be regarded as baseball cards by some collectors, I believe this Shakey’s set is the very first to feature both “traditional” (i.e., white) major leaguers and Negro Leaguers on its checklist.

1978 Laughlin Long-Ago Black Stars

Four years after his initial Negro Leagues set, Laughlin produced a sequel, employing a similar design. Aside from a brand new checklist of 36 cards, the most evident updates were the replacement of “Old-Time” with “Long-Ago” and a greenish rather than brownish tint.

1978 Grand Slam

This 200-card set may have been produced with autographs in mind as (I believe) all 200 of the early baseball stars it featured were still living at the time the set was planned. While nearly one-fourth of the set featured current or future Hall of Famers, there was no shortage of lesser stars such as Bibb Falk and Ed Lopat. The set even included an outfielder with a lifetime OPS of .182.

More to the point, the set included cards of Negro Leaguers Buck Leonard, Judy Johnson, and Cool Papa Bell.

1980-87 SSPC Baseball Immortals

When initially issued in 1980, this SSPC set included all 173 Hall of Famers, i.e., the Shakey’s Pizza roster plus the 16 players inducted between 1977 and 1980. As such, it included the same Negro Leaguers as the Shakey’s set but also added Martin Dihigo (1977) and Pop Lloyd (1977).

Following the initial release, SSPC updated the checklist multiple times through 1987 to include the Hall’s more recent inductees. As such, cards of Negro Leaguers Rube Foster (1981) and Ray Dandridge (1987) were subsequently added to the set.

P.S. No, I don’t really know what’s happening on that Foster card, and don’t even get me started on the Josh Gibson!

1982 “TCMA” Baseball Superstars

Two different “Baseball Superstars” sets were produced in 1980 and 1982 that may or may not have been produced by TCMA. (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 second of these sets included a lone Satchel Paige card on its 45-card multi-sport checklist.

1983 Sporting News 1933 All-Star Game 50th Anniversary

This 60-card set was released by Marketcom to celebrate the 50th anniversary of the first All-Star Game, and it’s first 48 cards featured the 32 players from the American and National League All-Star rosters plus various other players of the era such as Johnny Hodapp and Chick Fullis. Likely in recognition of the first East-West Game, also in 1933, the final dozen cards in the set consisted of Negro League greats selected by the Sporting News.

These same twelve Negro Leaguers would be reappear in their own 1933 All-Star tribute set in 1988.

1983 ASA Bob Feller

ASA was a big name in the early 1980s when it came to single player tribute sets, with Bob Feller the subject of one of its 1983 offerings. Card 5 in the twelve-card set includes a cameo by future teammate Satchel Paige in his Kansas City Monarchs uniform.

Note that a “red parallel” of the card (and entire set) exists as well.

1983 Donruss Hall of Fame Heroes

In 1983, Donruss augmented its slate of Hobby offerings to include a 44-card “Hall of Fame Heroes” set. While the majority of the set featured National and American League stars, it was notable at the time for being the first “mainstream” card set to include Negro League legends.

Cool Papa Bell and Josh Gibson are the two unambiguous Negro Leaguers in the set, and I would further count Satchel Paige in spite of his St. Louis Browns uniform.

Collectors hoping to get even more of artist Dick Perez’s talents applied to the Negro Leagues would be in luck the following year.

1980-2001 Perez-Steele Postcards (sorted in this article as 1984)

Beginning in 1980, the Perez-Steele Galleries issued a set of 245 postcards over the course of 22 years. The first of the releases to include Negro Leaguers was Series Five in 1984, which included Josh Gibson, Buck Leonard, Cool Papa Bell, and Judy Johnson. (The same series also included Satchel Paige as a Cleveland Indian and Monte Irvin as a New York Giant.)

1984 Decathlon Negro League Baseball Stars

Apart from the copyright line, this set is identical to its far more plentiful reproduction in 1986 by Larry Fritsch.

Consisting of 119 cards, it would take nearly four decades for a set to provide more Negro Leagues firepower than this one.

1985 Decathlon Ultimate Baseball Card Set

Decathlon returned the following year with a 15-card set of baseball legends, highlighted by Josh Gibson.

In addition thirteen white players, the set also included a “second year” card of Moses Fleetwood Walker.

If the artwork looks familiar, it was done by Gerry Dvorak of 1953 Topps fame.

1986 Larry Fritsch Negro Leagues Baseball Stars

Here is the aforementioned reissue of Decathlon’s 1984 offering, still available from Larry Fritsch Cards. I believe you can also pick up a set in person at the Negro Leagues Baseball Museum gift shop.

1987 Dixon’s Negro Baseball Greats

Salute to historian, author, and Negro Leagues Baseball Museum co-founder Phil Dixon, whose 45-card set was the first ever set of baseball cards produced by an African American.

Phil also worked with the Ted Williams Card Company on its Negro Leagues subsets in 1993 and 1994.

1988 Hardee’s

In addition to Charles Conlon photographs of five white major leaguers, this six-card set also included a card of Cool Papa Bell.

Though the small print on the Bell’s card suggests a Conlon photograph, it should be noted that Charles Conlon passed away in 1945 while Bell did not become the manager of the Monarchs until 1948.

1988 Pittsburgh Negro League Stars

This 20-card set, highlighted on the SABR Baseball Cards blog in 2020, was given to fans by the Pittsburgh Pirates on September 10, 1988. Biographical information on the card backs comes from historian Rob Ruck.

Befitting a Pittsburgh-themed set, nearly all subjects are Crawfords or Grays, though there are some exceptions such as Monte Irvin.

1988 World Wide Sports 1933 Negro League All Stars

This 12-card set features the same twelve Negro Leaguers as the 1983 Marketcom set and also shares a common theme, that of the inaugural All-Star Game (or East-West Game). Additionally, many of the cards use identifcal source images apart from differences in cropping. However, this set is a standalone Negro Leagues set whereas the 1983 set included 48 players from the white major leagues.

1989 Historic Limited Edition Negro Leagues Postcards

This set of 12 postcards features the artwork of Susan Rini. Total production was 5000 sets.

1989 Sportflics

The 225-card set from Sportflics did not include any Negro Leaguers, focusing instead on contemporary players and prospects.

However, each pack included one of 153 small inserts known as “The Unforgetables” and featuring a Hall of Famer.

Among the players included in this insert set were Josh Gibson, Pop Lloyd, Buck Leonard, Rube Foster, Martin Dihigo, Oscar Charleston, Cool Papa Bell, Satchel Paige, and Monte Irvin.

1990 Eclipse Stars of the Negro Leagues

I’ll finish the article with this attractive 36-card mini-box set from Eclipse, whose other offerings included the Iran-Contra Scandal, the Drug Wars, and the Savings and Loan Scandal.

The Negro Leagues set itself wasn’t scandal-free as it managed to confuse its two best players!

POSTSCRIPT

Counting the Hall of Fame postcards that began this article, we’ve now looked 20 years of Negro League baseball cards. Though the numbers of cards and sets may have been more than you imagined for this period from 1971-90, it’s fair to say that nearly all such sets might warrant the “oddball” label. Notably, we saw nothing at all from the biggest name in all of baseball cards, Topps.

The omission of Negro Leaguers by Topps could certainly be seen as a sign that Topps deemed these players unworthy of their precious cardboard. To an extent I buy the argument, but I’ll also counter with the fact that Topps operated “by the book” when it came to licensing, permissions, etc. I suspect many of the sets profiled in this article provided no financial compensation to the players or estates involved, meaning their honoring of the Negro Leagues may have been part celebration but also part exploitation. If so, perhaps Topps deserves kudos for not following suit.

Though I may have overlooked a card or set somewhere, I believe the first Topps Negro League cards appeared in 2001, most prominently as part of a “What Could Have Been” series.

Though unintentional, the set led off with a “what could have been” to top them all: Josh on the Kansas City Monarchs. Such would surely end all greatest team ever debates right here and now!

What about Blob?

In case you missed it, SABR Baseball Cards Research Committee co-chair Nick Vossbrink published his “On Thinking about What Makes a Card a Card” piece a couple weeks ago, offering readers and collectors a framework for thinking about cardness.

In the comments I referenced a particular card (or non-card) genre likely unknown to much of our readership, so I thought a full blog post might be a better way to keep up the “what makes a card a card” (WMACAC) conversation.

Last year Topps launched Project 2020, in which twenty renowned artists, typically from the non-sports universe (e.g., fashion, jewelry, street art) put their spin on twenty classic Topps rookie* cards.

Brooklyn-based muralist and artist Eric Friedensohn, better known as Efdot

I put an asterisk because the Ted Williams, Willie Mays, and Jackie Robinson cards were simply first Topps cards (FTC), the Nolan Ryan was his first solo card, and the McGwire has its own debate surrounding it. One could perhaps quibble over Update set XRCs as well, and of course the Mariano Rivera is a Bowman. Still, you get the idea!

Early cards in the set tended to stay very true to the original RC, as shown by my Tyson Beck card of Dwight Gooden, which was card 12 of the 400 cards that made up the set. Later cards tended to drift a bit more as the artists took greater and greater license. For example, my Efdot Dwight Gooden, which was card 137 overall, retains none of the design elements of the 1985 Topps set but more than makes up for it with its timely tribute to healthcare workers.

One of my favorite cards in the set is the Efdot Sandy Koufax card, which deviates considerably from the layout and design of the original Topps classic but retains enough elements to be clearly derivative. (In general, this was my personal “sweet spot” for the project: very different from the original but not wholly unrelated.)

If we stop here and ask, “Is this a baseball card?” I have to imagine a nearly universal answer of yes. Granted, it might not be a card you collect personally, and it’s clearly not a card from Koufax’s playing career. However, it checks off nearly every category of cardness.

  • Standard baseball card dimensions of 2-1/2″ x 3-1/2″ (though it’s thicker than your typical card at 130 points, or roughly the same thickness of a pack of 1982 Topps)
  • Professional baseball player depicted on the front, along with name, position (it’s there, trust me!), and team
  • Issued by Topps and fully licensed
  • Non-blank back, though no stats are provided. Instead, we get a small write-up of the set itself and the artist who designed the card.

Where baseball cardness gets more interesting is with the collections of art pieces many of the artists issued independently as companion cards to their Topps releases. Unlike their official Project 2020 cards, these cards were neither produced by Topps nor licensed by MLB, MLBPA, or the representatives of any retired players.

As an example, here is Efdot’s Left Arm of Blob, based on a turtle-like Blob character Efdot uses in his murals and other designs.

This companion card has many features suggestive of Sandy Koufax. Among them are the left-handed pitching motion, the stylistic nod to Jewish artist Marc Chagall, and a healthy dose of Dodger Blue, even if non-exact. On the other hand, I don’t think many baseball fans would regard Blob as a dead ringer for Mr. Koufax. Furthermore, there is no name, team, or logo to assist.

If we accept the idea that even a generic baseball player is enough to establish baseball cardness then Left Arm of Blob definitely gets my vote for being a baseball card, even lacking the imprimatur of a card-making goliath like Topps, Upper Deck, or Panini. However, I believe a more fun question to ask is whether Left Arm of Blob is a Sandy Koufax baseball card.

While the answer is likely no on a technical level, I have always been of the mindset that the collector is always right. As such, I do consider Left Arm of Blob a welcome addition to my Sandy Koufax collection, primarily for two reasons. First, the card is clearly Koufax-inspired (or at least Koufax card-inspired). Second, the card was specifically designed to go right next to the real Sandy.

I know many collectors these days who prefer not to decide such matters for themselves but prefer to see how the Hobby establishment opines. For example, will we see Left Arm of Blob in PSA’s Koufax “super set” or as an entry on Trading Card Database’s Koufax pages? And before you say, “No chance!” to the former, here is a Babe Ruth card from PSA’s Bambino master set, batting righty no less!

Though there is precedent for nearly everything new in the Hobby, I’ll offer that the idea of a companion card is at least new enough in today’s consciousness to preclude consensus. However, many of this year’s Topps Project 70 artists are producing and distributing companion cards, meaning we will soon have a much larger sample size on which to equivocate. We will also be forced to reckon with companions as “a thing” rather than some flukey one-off that only happened in the weirdest year of our lives.

In the grander scheme, what we do know is that Left Arm of Blob is simply one of many novel card-ish objects that will continue to defy or at least challenge classification as the Hobby evolves into the future. Whatever boundaries we establish, save none at all, will be pushed for at least as long as imagination and innovation continue to assert a place in the Hobby. Any fuzziness and inconvenience that arise should be considered far better than the alternative!

On thinking about what makes a card a card

One of the few editorial positions we have on this blog is a very catholic stance toward what counts as a baseball card. We’ve published posts about photos, toys, games, stamps, coins, etcetera, all of which serve to flesh out and describe the way that we collected cards. We’re not interested in being gatekeepers for what cards are. We’re interested in use and how cards relate to our fandom and interest in the game itself.

All that said, the discussion about what constitutes a card is one that comes up periodically on Twitter or on here.* It’s a fun discussion to have since we all have very different ideas** which in turn impact our collections and interests. I enjoy taking part in these discussions but I really love just watching them since the criteria people bring up have turned out to all over the map.

*Probably also in the Facebook group but as I’m no longer part of that website I’m unable to confirm as much.

**Quite similar to the “what constitutes a complete set” discussion we had earlier on this blog.

We all, of course, have significant agreement on what a card is. But there are so many variables where an item can deviate from being a card™  that I found myself creating a taxonomy of card attributes. Looking at cards with these attributes in mind is something I’ve found helps me understand why my gut reacts to different products the way it does.

This post will explain my thinking and hopefully help other people put words to things their guts have already intuited. Again, this is in no way intended to be a gatekeeping thing. We all have different reactions to which attributes we care about and where on the spectrum something stops being a card. But if the Twitter conversations have taught me anything it’s that being our most interesting conversations are when we’re being positive about our definitions rather than negative about someone else’s.

Material

We’ll start with the obvious and discuss the material of the card. Obviously the expectation is that they be made of cardboard. They are called “cards” after all.

But cards have never been limited to just that. From the silks and blankets in the pre-war era to the plastic, metal, and wood releases of the modern era we’ve always had cards that weren’t made of cardboard. We’ve had stamps, stickers (some made of cloth), rub-offs, rub-downs, and decals as well.

Even in the cardboard/paper realm there’s also a discussion with having about the thickness of the paperstock. We’ve had posts on the blog about cards printed on newsprint and cards which are almost a quarter of an inch thick.

Size

In general tobacco-sized to 3.5″×5″ seems to have a consensus as being a card. But what about 5″×7″ or 8.5″×11″? What about minis and micros that are smaller than tobacco cards? What about posters and pin-ups?

A lot of this comes back to storage concerns and the way many of us use binders and binder pages to organize our collections. But it’s more than that too. For most of us, “card” indicates something from the business card to postcard size and anything beyond that becomes something else. Too small and the card starts to feel insignificant. Too large and it becomes something else—a photo, a poster, a flyer.

Form

This is sort of related to size but refers to non-rectangular items like discs and diecuts but also encompasses folders, booklets, and pop-ups as well as  coins, poker chips, and buttons. Many of these are binderable. Just as many lose what makes them distinct and interesting as soon as they get bindered.

The items which aren’t binderable at all are especially interesting here. Things like the 1957 Swift Meats diecut paper dolls or those Topps 3-D Baseball Stars from the 1980s are clearly intended to be like cards but do not fit into any standard card storage or presentation systems.

Content

The question of what makes a card a card is more than just the physical description of what it’s made of and what shape it is. What it actually depicts is also important. Yes, picture on the front, stats/bio on the back is the expectation. But there are a lot of cards out there which don’t do this.

We’re not just talking about blank backs either although those are definitely relevant to this category. Backs that are advertising, common designs, or just a player name are all part of this. The same goes with fronts that depict a generic player instead of someone specific.

And for my money, all the more-recent relic, autograph, or online cards with backs that are functionally blank fit in here as well. I’ve seen way too many people refer to them as “half a card” to not mention them.

Release

No images for this section because it’s not something that can really be depicted visually. Traditionally, cards are part of a set and are released in either packs or complete sets. Cards that exist by themselves without the context of a set or the lottery of a pack stray into a grey area. This is something that’s really been pushed into new territory with online releases and the way Topps has in many ways optimized its distribution around selling and creating individual items on demand, but the idea of one-off card releases has been around a long time.

There’s also the discussion here about what connotes a set—both in terms of size and how things are numbered. At what point does a release of cards become a “set”? If something is unnumbered or only has a weird alphanumeric code on the back does that mean that it was intended to be collected by itself?

Case Studies

Why do I bother thinking and categorizing different attributes? Because as I watch the discussions it seems that most of us tolerate a certain amount of variance in one or two categories as long as the others remain “standard.” So let’s dig in.

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Let’s start with 1969 Topps Deckle Edge. These are pretty clearly cards but they serve as an example of something that sort of fails one of the categories because the backs are non-existent. But as you move from card size to 5″x7″ to 8″x10″, more and more people switch from treating them as cards to treating them as photos.

Or look at Broders. They’re generally “backless” but they also start to deviate from the expected release method.* They consist of small checklists and were generally not released the same way most cards are. Art cards and customs fit in this area as well. Move up a size in this area and we have things like team photo postcards. Change the paper stock and we end up in Jay Publishing land. At some point things stop being a card for a lot of people**

*There’s also something to be said about the licensing stuff but I’ve not heard anyone claim that Panini or other unlicensed logoless cards aren’t even cards.

**Although we still collect them and cover them on this blog.

The one that’s sort of stumped me in my own collection are the Upper Deck Heroes of Baseball stadium giveaways from the early 1990s. Despite being letter-sized and blank-backed, because they’re cardboard and manufactured by Upper Deck they physically feel more like cards than a lot of the posters that Topps has folded up and inserted in packs over the years.

At the same time, since they were distributed via stadium giveaway and do not function as part of a set. They’re also functionally distinct from those late-60s, early-70s posters that were issued in packs and formed part of a distinct set.

But I could go on and on. As stated initially, the point of this post isn’t to provide a definitive answer or even an official opinion. Instead I hope that organizing my thoughts about the different ways we evaluate cardness is helpful to other people as I’ve found it to be for my own thinking.

Jason’s Mount Rushmore of Vintage Sets

I expect fellow author-collector Dylan has really started something with his post on the subject a couple weeks back. The topic is one just begging for the pen of each of our members, even as the idea of choosing “just four?!” often feels impossible.

1934-36 Diamond stars

I’ll lead off with a set that Dylan included on his Mt. Rushmore, the “Diamond Stars” issued by National Chicle from 1934-36. Like Dylan, it’s the look of the cards that hooks me in.

The color palette jumps off the cardboard like ink off a comic book page, but I am also a big fan of the baseball scenes depicted in so many of the card backgrounds. I’ve already written about these scenes coming more from the imaginations of the artists than real life, but for me that’s a feature, not a bug.

From a purely visual standpoint, Diamond Stars is my favorite set of the 1930s and perhaps my favorite set of all-time. Where it falls short with many collectors is in its player selection. Conspicuously absent from the set are Yankee greats Babe Ruth and Lou Gehrig. For the budget set collector, this is yet another bug-turned-feature.

If you’ve read a few of my pieces already, you also know I enjoy sets with some novelty and mystery. Diamond Stars definitely fits the bill, not only for its various quirks but also offers early instances (though by no means the earliest) of “Traded” cards.

If I had to choose one thing I dislike about this set, it’s the repetition of 12 players at the end of the set’s 108-card checklist. Particularly as these final cards are more scarce than the first 96, the duplication introduces disproportionate pain for set collectors forced to pay a premium for cards they already have.

1933 Goudey

Here is another set I’ve written about quite a bit and the set under whose shadow all other sets of the era reside.

While the set’s iconic status goes hand in hand with its trademark “Big League Chewing Gum” banner along so many of the card bottoms, my favorite cards come from the set’s final three releases (e.g., Morrissey, Root, and Herman above).

Where Diamond Stars lacked Ruth and Gehrig, Goudey brought these players on steroids, combining for six cards across the set’s 240-card checklist. Counting the Napoleon Lajoie card issued the following year, the set includes 66 cards of Hall of Famers and all but two players who competed in the season’s inaugural All-Star Game.

Were I to find fault with this set, it would be in a flaw common to all other baseball sets issued in the United States around this time. The set included players from the National League, American League, Pacific Coast League, International League, Southern Association, and American Association but no players from the Negro National League or other Black baseball leagues.

Kudos to my bud Scott Hodges who is filling some big holes in the 1933 Goudey set and others with his own digital card creations.

I’ve attempted similar in analog fashion though I’ve been less faithful to the history. Here is Buck Leonard on the Grays a year before he joined the team.

I will definitely treat the absence of Black stars as a bug, not a feature, but if there’s a silver lining it’s that there is no chance I could afford a 1933 Goudey Josh Gibson, and its absence from my collection would absolutely torment me daily.

1911 T205 Gold Borders

Like Dylan I had to include a tobacco set on my list. The T206 set, which initially did little for me, has grown on me immensely over the past couple years. Still, it would have to gain a lot more ground to surpass its gilded sequel.

The set features three different designs: one for National Leaguers, one for American Leaguers, and one for Minor Leaguers.

I absolutely love the NL and Minor League designs and am somewhat ho hum about the AL one, so I’m fortunate to be a Brooklyn collector.

As brilliant as the card fronts are, the T205 card backs are not to be ignored. While some feature brief biographies and one of several tobacco brands, others include…stats!

As with the two sets covered thus far, you will not find a single Black player in this set. You might suppose no card set from 1911 included Black athletes, but this was not the case. For example, here is Jack Johnson from the 1911 Turkey Red Cabinets (mostly baseball) set.

Once again then there is the knowledge in collecting T205 that you’re not collecting the very best players of the era. But again, did I mention I was a Brooklyn collector?!

AND…

Here’s where it always gets tough. I probably have ten or more sets I’m considering, but the rules are that I can only choose one. Though I love the cardboard of the 1930s (and earlier!) so much, my favorite era of baseball is the early 1950s. Though integration was slow, it was at least happening, and the mix of new talent and old talent was simply off the charts.

That said, the number of baseball card sets that managed to include all the top stars of the period was practically zero. Ted Williams, Joe DiMaggio, and Jackie Robinson in the same (playing era) set? Your choices are already fairly limited:

  • 1947 Bond Bread
  • 1948 Blue Tint
  • 1949 Leaf
  • 1950 All-Star Pinups
  • 1950 R423 Strip Cards
  • 1952 Berk Ross

Add Stan Musial and Bob Feller and the list shrinks further:

  • 1947 Bond Bread
  • 1949 Leaf
  • 1950 R423 Strip Cards
  • 1952 Berk Ross

Add Mantle and Mays and the list boils down to one: 1952 Berk Ross.

With a selection of players that also includes Roy Campanella, Yogi Berra, Larry Doby, Duke Snider, Monte Irvin, and an awesome Johnny Mize “in action” card, could this set be the winner?

As much as I love the checklist, the answer has to be no. Most of the images are too dark, too light, or too weird for my taste, and the simple design borders on the boring. Still, what could have been!

The key then is to find a set with beautiful cards and almost all these same players, and–if we add a few more years–Hank Aaron, Roberto Clemente, and Ernie Banks.

As much as it pains me to give up Joe DiMaggio and Stan Musial, it’s hard for me not to land on 1956 Topps. The beautiful portraits, the Kreindleresque action shots, and the awesome cartoon backs offer my favorite overall design of the Golden Age of Baseball, and the absence of Bowman meant nearly every active star was included in the set.

Unlike 1952 Berk Ross, with only 72 cards, 1956 Topps included 342 cards (counting un-numbered checklists), hence was large enough to assign a card to nearly everyone, not just a couple stars per team.

If I have any bitterness toward this set, it’s only the sour grapes of waiting way too long to collect it. If there’s a lesson here, it’s that sometimes to collect your Rushmore you need to…rush more! Luckily, I do have all 24 Brooklyn cards from the set, and hey, did I mention I’m a Brooklyn collector?

How about you? Which vintage (or modern!) sets make your Mt Rushmore? We look forward to your article!

A Little Treasure Chest

Brace, Conlon, McWilliams, McCarthy. McCarthy? Most card collectors and hardcore baseball fans have heard of, or encountered, the photography of George Brace, Charles Conlon and Doug McWilliams. For some reason, J.D. McCarthy has slipped through the cracks.

He shouldn’t have. McCarthy, from near Detroit, was a top level photographer, clicking away product that players used as postcards to answer fan mail or promote their bowling alleys and pizza parlors (McCarthy entries are scattered throughout the Standard Catalog), and that Topps used on a freelance basis. McCarthy archives had made it through various hands, and the bottom of the collection ended up with Bob Lemke, formerly of Krause Publications and one-time editor of the Standard Catalog. He wrote about it here.

Bob makes the point that the collection went through multiple owners, and, by the time it got to him, had been picked over, the Hall of Famers and big stars had disappeared. Which leads me to this post.

Back in 1986, I was visiting Cooperstown and, of course, Baseball Nostalgia. The shop, co-owned by inaugural Burdick Award Winner Mike Aronstein, was in its old location, at what is now the batting range. I picked up my usual odds and ends, like the current San Francisco Giants yearbook, and this little gem. (I’d always been under the impression that Sports Design Products was an Aronstein company, but Andrew Aronstein assured me it was not.)

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I had never heard of McCarthy, and had no idea of what would be contained within this plastic box, but, man, what’s inside was a marvel then, and still is now. It’s a 24-card set, matte-finish (if not matte, non-glossy), with brilliant photos and a simple, 1969 Topps design. SDP clearly had some big plans for the superstar portraits of McCarthy, hoping to get on board the card boom. Seemingly those dreams were never realized.

Here’s the entirety of the set:

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An up close look at these two beauts:

(The backs have little to offer, but I know you “card back” guys care.)

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While still cheap in price, the McCarthy set is high in aesthetic value. Track one down.

Venezuelan Topps and the Pirates of the Caribbean

When novice collectors hear the phrase “Venezuelan baseball cards,” they may picture something like this.

More seasoned collectors are more likely to identify Venezuelans as those hard to find, harder to afford, condition-sensitive cards that keep their player collections from the upper echelons of the PSA registries.

Hey, at least the shipping is free!

Other collectors, like this author, simply ignore such gaps in their collection based on most Venezuelan cards being so similar to their U.S. counterparts that there is not enough “there” there to pay through the roof for something you (mostly) already have.

In this post we will look very quickly at the years from 1959-1968 when the Venezuelan cards were nearly identical to their North American brethren and then spend my traditional very long time on the single year when they most certainly weren’t.

But first…1952-1958

My understanding is that Topps was selling cards in Latin America as far back as 1952. From 1952-1958, the cards were produced in the United States and then shipped to other countries to be sold. It was not until 1959 that Topps was not just selling but actually producing cards in Latin America.

1959

The 1959 U.S. and Venezuelan cards appear nearly identical, though in hand you would quickly detect two differences: a flimsier card stock and a less glossy finish. The backs of some of the cards would also replace the standard copyright line along the right edge with “IMPRESO EN VENEZUELA POR BENCO C.A.,” roughly translated as “Printed in Venezuela by Benco, Inc.”

As for the checklist itself, the 198-card Venezuelan issue simply followed the first 198 cards on the 1959 Topps U.S. checklist.

1960

There was even less differentiation in 1960. Again, the 198-card Venezuelan set mimicked the first 198 cards on the U.S. checklist, but this time there was not even a different copyright line. From a design perspective there was no difference between the North American (top) and South American (bottom) cards. From a production perspective, there is still a flimsier feel to the Venezuelan cards.

1962

More significant changes came to Caracas in 1962. The first is easy enough to spot: multiple elements of the card back are now in Spanish!

The second is one perhaps best known to collectors of a certain Latin American infielder. While the Venezuelan and U.S. checklists mirror each other for the first 196 cards, the Venezuelan issue skips U.S. cards 197 (Daryl Spencer) and 198 (Johnny Keane) and instead jumps to cards 199 and 200.

However, the Venezuelan issue didn’t simply jump to U.S. cards 199 and 200, both of which we recognize today as among the key cards in the U.S. set.

Rather, Venezuelan card 199 went to Venezuela-born second baseman Elio Chacon of the Mets, who would not be seen until card 256 in the U.S. set. (Side note: Frank Robinson sighting!)

Finally, card 200 went to an even more prominent Venezuelan infielder, whose card was number 325 in the U.S. set.

As a final note, the 1962 Topps U.S. set is famous for its variations. For example, all five (!) of these cards are number 139 in the U.S. set.

From what I can tell, “Babe on dirt” is the only one of the five variations present in the Venezuelan set, though (as in the U.S.) “Reniff portrait” can be found at slot 159 on the Venezuelan checklist.

Okay, I lied. I’ll say one last thing about the set. It involves a feature that would become commonplace across many Venezuelan and Canadian (O-Pee-Chee) sets during the decade.

As it came straight over from the much larger U.S. set, Venezuelan “3rd Series” checklist must have disappointed or at least baffled young collectors such as the one who this card belonged to. More than half the cards it listed were not in the set!

“¿Dónde está Daryl Spencer (197)? ¿Dónde está M. Mantle (200)? ¿Cuántos paquetes tengo que comprar?”

We know about sets with “chase cards,” but (counting the back of the checklist too) here was a set with 68 of them!

1964

Following the more significant changes of 1962, the 1964 release represented a return to the original formula, only with more cards. The set included 370 cards that mimicked the first 370 cards on the U.S. checklist. Moreover, the card backs reverted to English once again.

From a design standpoint, the most evident difference across continents was the black background color used on the Venezuelan backs as compared to a salmon color used on the U.S. card backs. (I am also speculating that the trivia answers came already revealed rather than requiring scratch-off, but I would love it if a reader can provide definitive information.)

1966

The next release was an awful lot like the one before it but with even less variation. The 370-card Venezuelan offering again matched cards 1-370 on the U.S. checklist and featured English-only card backs.

Flimsier stock and some subtle color differences provide the main means of recognizing these cards, and I have encountered quite a few tales of collectors thinking they bought a stack of ordinary Topps cards only to discover some number were Venezuelans.

1967

We’ll skip this one for now as it’s actually the main focus of the article!

1968

We have now reached the final year that Topps produced a parallel set for the Venezuelan market. The formula followed that of 1964 and 1966, a 370-card set matching up card for card with the first 370 cards of the U.S. issue. From a design perspective, about the only distinguishing feature was the nearly invisible (at my age) minuscule white lettering at the bottom of the card backs that read, “Hecho en Venezuela – C.A. Litoven.”

And finally…1967!

Hobby consensus, if not established fact, on every one of the sets from 1959-1968 is that Topps produced the cards expressly for the Venezuelan market to take advantage of baseball’s popularity and hopefully make a few extra bucks. As has been shown, the cards were essentially flimsier versions of the U.S. issues with the only interesting differences coming in 1962.

All this stood in stark contrast with what the kids of Caracas lined their pockets (or more likely their albums) with in 1967. Rather than a low-grade imitation of some early portion of the U.S. checklist, one could argue that Venezuelan collectors ended up with a better set of cards than their North American neighbors. Let’s take a closer look at the set, and you can decide for yourself!

While numbered consecutively from 1-338, there are three very distinct groupings of cards. In fact, the Standard Catalog lists them as three different sets, though most collectors I’ve talked to think of them as a single set in three parts.

Winter Leaguers

Cards 1-138 feature the players and managers of the six-team Venezuelan Winter League. This averages to 23 cards per team, which means this was less a “best of” and more an “almost everyone” sort of checklist.

Though they present at least some visual similarity to the 1967 Topps set, the Venezuelan Winter League cards are immediately identified as distinct by their distinctly non-U.S. team identifiers and their lack of facsimile signatures. (Or you can just flip the card over and see what number it is!)

Two particularly notable cards in this subset are those of nine-time National League all-star Dave Concepcion and Hall of Fame manager (then third baseman) Bobby Cox, whose Venezuelan cards beat their U.S. rookie cards by four and two years respectively.

RETIRED GREATS

Cards 139-188 featured retired (“retirado” in Spanish) greats of the game. Believe it or not, at 50 cards, this was actually one of the larger sets of retired greats produced to this point. While most of the players would have been at home in a U.S. issue, this subset also included a number of Latin American legends such as Alex Carrasquel, Alfonso Carrasquel (more on these two later), and Connie Marrero. There is also one of the more unusual Ted Kluszewski cards you’ll ever see!

ACTIVE MLB PLAYERS

Cards 189-338, a block of 150 cards comprising almost half the set, feature near replicas of 1967 Topps (U.S.) cards, at least as far as the fronts of the cards go, but these cards for once do not simply mirror the first 150 cards of the U.S. set. If that were the case, the top stars would have been limited to the following players:

  • Whitey Ford
  • Orlando Cepeda
  • Al Kaline
  • Roger Maris
  • Tony Oliva
  • Don Drysdale
  • Luis Aparicio
  • Ron Santo
  • Frank Robinson
  • Willie Stargell
  • Mickey Mantle

In fact, the 150-card subset included every one of these players except Ford (more on him later) AND also included Carl Yastrzemski, Harmon Killebrew, Brooks Robinson, Willie Mays, Eddie Mathews, Bob Gibson, Pete Rose, Ernie Banks, Roberto Clemente, Hank Aaron, Juan Marichal, Willie McCovey, Lou Brock, Billy Williams, and many, many other top stars of the day.

To my eyes, the player selection represents a hand-picked “best of” that not only fully encompassed every major star from the Topps set but sprinkled in a disproportionate number of Latin American players to boot. (It’s important to note here that I’m placing us back in 1967 where Seaver, Carew, and the like were not yet established superstars.)

A quick aside to quantify the “best of” nature of this subset a bit more. In at least an approximate manner we can associate the best players in the original Topps set as the ones with “hero numbering,” card numbers that ended in 0 or 5. I’ve highlighted in green the “hero numbers” from the Topps set that have cards in the Venezuelan MLB subset. Cells in red (e.g., Whitey Ford, #5) reflect cards not selected for the subset.

The chart shows at least three interesting things about the MLB subset–

  • A very high proportion (89/121, or 74%) of hero numbers were selected vs the 20% that either random selection or any consecutive block of 150 cards would have yielded.
  • All multiples of 50, generally associated with the superstars in a set, were selected.
  • And finally, it shows that more than half the cards in the MLB subset (89/150, or 59%) were chosen from the Topps hero numbers.

“How very unlike Topps to build a set around the players kids actually want!” you say. And don’t worry, we’ll get to that soon enough. For now, just recognize that the full Venezuelan set now includes just about the entire Venezuelan Professional Baseball League, a huge selection of all-time greats, and all the best active players from MLB. How do you beat that!

1967 Card Backs

Diverging from the other years we examined, the 1967 card backs look nothing like Topps. This Mathews card is typical for the entire set, with the note that its blue background is (almost always) red for the Winter Leaguers and green for the Retirado subset.

What are these anyway?

For a variety of reasons including the similarity of the final 150 cards to the U.S. issue, the full 1967 release has frequently been referred to as “1967 Topps Venezuelan” or “1967 Venezuela Topps,” the name suggesting (as truly was the case in 1959, 1960, 1962, 1964, 1966, and 1968) that Topps was the company behind the set’s issue.

However, conventional Hobby wisdom seems to be that the 1967 Venezuelan set (or sets if you prefer) were produced completely apart from and without the blessing of Topps. The cards were bootlegs, “pirates of the Caribbean” if you will.

More than likely the cards were produced by Sport Grafico, essentially the Venezuelan equivalent of Sports Illustrated or Sport magazines in terms of content and equal to Life or Ebony in terms of size.

From the author’s Hank Aaron collection

Before proceeding I’ll offer that the pirated nature of these cards is great news for all the collectors out there who avoid anything unlicensed. That said, I’d have a hard time imagining too many collectors who couldn’t find even one spot in their binders for beauties like these. (And feel free to click here for the most amazing 1967 Venezuelan collection I’m aware of, online or otherwise. Or click here for another amazing collection covering even more years.)

One of the best pages for learning more about the 1967 Venezuelan cards is here, though you will either need to remember your high school Spanish or use a translation feature on your browser. Among the fantastic information shared on that site is the actual album designed to hold all 338 cards. If you go to the site you can even see what the pages inside looked like.

Among other things, the album seems to all but confirm that the cards were produced by Sport Grafico. After all, their logo is prominent in the upper left corner. Though one might be tempted to regard the cartoon parrot as a nod to the pirated nature of the set, each cartoon character actually represents one of the six teams in the league:

  • Leones del Caracas (lions)
  • Tigres de Aragua (tigers)
  • Cardenales de Lara (cardinal)
  • Tiburones de la Guaira (shark)
  • Navegantes del Magallanes (sailors/mariner)
  • Pericos de Valencia (parrot parakeet)

Most online sources on the Venezuelan league refer to the name of the Valencia team as “Industriales” or the Industrialists! Fortunately, we have baseball cards to set the record straight.

You can even make out the parakeet logo on the Luis Rodriguez card!

When did the 1967 set come out?

On one hand this probably reads like the joke about who’s buried in Grant’s tomb. On the other hand, the Hobby has more than a few sets that came out later than their name would seem to suggest (e.g., “1948” Leaf).

Looking at the album cover again, we see the years 1967-1968 in the bottom right corner. This is no surprise given that the typical Venezuelan Winter League schedule ran from mid-October through early January. This alone makes me think a designation like 1967-1968 would make more sense for the cards than simply 1967. (Collectors of basketball and hockey are already quite used to this convention for dating their sets.)

One card that quickly tells us the Venezuelan cards could not have come out until (at best) very late in 1967 is the Brooks Robinson (pictured earlier) from the MLB portion of the set. In the U.S. set, this was card 600, part of the seventh and final series (cards 534-609), presumably released around September 1967. (This same series also produced 11 other players for the MLB portion of the Venezuelan set.)

I don’t claim to know all the steps and turnaround times involved to go from a stack of Topps cards to a full-fledged Venezuelan set (or even just the final third of one), but I would imagine at least the following things would all need to occur:

  • Select the players
  • Capture images from the Topps card fronts
  • Write bios and other info for the backs
  • Print, cut, and pack the cards
  • Get the cards to the stores

I’m sure I’m leaving out some important steps, but I’ll still say all of the above feels like at least two months of work. I’d be surprised if at least this final third of the Venezuelan set was out in time for Winter League Opening Day, and it definitely wouldn’t shock me to learn this final subset might not have hit the shelves until early 1968.

“Okay, but that’s the final portion of the set,” you say. Might the other portions have come out much earlier?

I’ll start with the Winter Leaguers since at least their numbering suggests they would have been the first out the door. We can gather some clues about timing from some of the players who made their Venezuelan Winter League debut during the 1967-68 campaign. One example is Paul Schaal, shown here with the Leones del Caracas team.

As 1967-68 was Schaal’s first year playing in Venezuela (also noted by the last line of his card bio), it stands to reason that the photo on the card could not have been taken before October 1967. Ditto for Jim Campanis (yes, the son of Al), who also made his Venezuelan debut in the 1967-68 campaign but is already shown in his Cardenales de Lara cap.

As these two players were still with their Major League teams (the Angels and Dodgers respectively) through the end of September, their cards would be a good month or so behind Brooks Robinson in how soon they could hit the shelves. I don’t want to underestimate the production team at Sport Grafico, but Christmas actually feels optimistic to me here.

Another interesting example here is Jose Tartabull, who remained stateside with the Red Sox all the way through the seventh game (October 12) of the 1967 World Series. However, as a returning player to the Leones del Caracas, it’s certainly possible his photo could have been a holdover from an earlier year.

We have now looked at cards in both the MLB and Winter League portions of the Venezuelan set that suggest either an extremely fast production process or at best a very late 1967 (e.g., December) release. What you probably wouldn’t expect is that even a card in the Retirado subset tells us something about the release window. His card also puts a bow on a minor mystery you might be hanging onto from a previous section.

Recall that Whitey Ford was the one big star from the 1967 Topps set not present in the MLB portion of the Venezuelan set. Given Ford’s retirement on May 30, 1967, it actually makes perfect sense that he would A) be excluded from the set of active MLB stars and B) find himself included in the set of retired greats. Perhaps the only thing that doesn’t make sense is why he’s posing with what I assume is Joe Pepitone’s jersey! (UPDATE: A reader provided an excellent explanation in the comments section.)

Ford’s retirement was early enough in 1967 that it wouldn’t have exerted any real pressure on releasing the Retirado cards by the opening of Winter League. Nonetheless, it takes the one subset that at least theoretically could have come out the soonest and probably pushes it back to August/September at the earliest.

Yes, one certainly could argue that the team at Sport Grafico simply had a feeling in advance that Ford would retire. However, the back of the card shows that he had in fact already retired.

Translated into English the last sentence of the card reads, “The lefthander’s career was shortened by muscular pains and although he underwent surgery he could not recover his effectiveness, so he voluntarily retired in 1967.”

Ultimately, the question of when these cards came out, if not established by the distinct memories of contemporary collectors, might be settled by a thorough enough review of Sport Grafico magazines from late 1967 and early 1968. Assuming the cards genuinely were the work of the magazine, then perhaps there would be an ad dedicated to their release.

That said, the bulk of the ads in the issues I have (early 1970s) are primarily targeted to adults who would not have been the target market for cards, at least not back then! Still, I’d enjoy the search if I ever found the right issues, and depending on what I found I might annoy my fellow collectors by referring to the set as 1968 Sport Grafico rather than any of the various names it goes by today.

“VEN” diagrams

Everything I’ve offered thus far is simply a curation (but with less accuracy or authority) than what you’d find on the Web if you spent a dozen or so hours trying to learn everything you could about these sets. Of course the reason I’m the highest paid blogger at SABR Baseball Cards (okay, fine, tied for highest with all the other guys making $0.00) is because I try to bring something new to the table whenever I can.

In this case I’m talking about my trademark needlessly detailed analysis of the set’s checklist. Since we’re talking about a VENEZUELAN issue, it stands to reason that I will be employing VEN diagrams. (And yes, I know I spelled it wrong. Work with me, please, work with me.)

This first VEN diagram looks at the 338 subjects in the set, organized by which group(s) they appear in. The main thing to notice is that five of the subjects have cards in multiple groups.

Since the numbers are small, I’ll show each of the cards that land in the overlapping sections of the VEN diagram.

First here are the three players represented in both the Winter League (1-138) and the MLB (189-338) portions of the checklist. Probably not coincidentally, the three players are all Venezuelan-born and were assigned to the first three cards in the MLB subset (i.e., 189-191).

Next up are an uncle and nephew who are both Winter Leaguers (coaches, anyways) and retired greats.

Collectors in Peoria, Illinois, may wonder how either Carrasquel managed to join the hallowed list of retired greats otherwise populated by the likes of Babe Ruth and Satchel Paige. In fact, Alejandro was the first Venezuelan to play MLB, and Alfonso was the first Venezuelan MLB all-star.

Now that we’ve made it through the VEN diagram of the full Venezuelan set, we can now compare each part of that set to the (real) 1967 Topps set. The first VEN diagram I’ll look at compares the Retirado portion of the Venezuelan issue with the full U.S. set.

If you were paying attention just a few minutes ago, you already know the player in the overlap is Whitey Ford, so I won’t rehash any old explanations. I’ll just note that another good candidate would have been Gil Hodges, who had a manager card in the 1967 Topps set and at least in my book would have fit every definition of a retired great.

The next VEN diagram compares the Winter League portion of the Venezuelan issue with the full U.S. set. From previous work, we already expect to see Davalillo, Tovar, and Aparicio within the overlap, but these three players represent just one-seventh of the total number.

Here is a complete list of all 21 overlappers. As you can see, nearly half were confined to multi-player rookie cards in the Topps set but now had solo cards they could show off to their families and friends.

And while the money wasn’t as good in Winter Ball, at least you got to wear your hat on your baseball card and have your uniform match your team!

The final Venezuelan subset to compare against the 1967 Topps (U.S.) set is the collection of 150 pirated Topps cards at the very end. A VEN diagram here would be dull since all 150 of the cards are drawn from the U.S. set. Therefore, what I’ll do instead is show how the U.S. versions of these 150 cards match up with the U.S. checklist.

As the barely readable plot shows, the 150 cards came from all areas of the Topps checklist, including the dozen already noted from the final series.

Postscript: North of the border

As a guy who gets paid by the word, even if my rate is $0.00 per word, I’ll do anything to make my articles longer. (Editor’s note: Even adding superfluous editor’s notes when he’s not even the editor!) In this case that means the one last comparison nobody would have presumed relevant (and probably still won’t even once I’ve presented it).

While Topps most likely had no hand at all in the 1967 Venezuelan set, aside from having their images ripped off, it’s not like Topps was ignoring the rest of the world. As had been the tradition for the previous two years, Topps once again issued an O-Pee-Chee set up in Canada.

Much in line with how the (true) Topps Venezuelan sets went, this 196-card set simply mimicked cards 1-196 from the U.S. set and would be indistinguishable (at least to me) from their American neighbors if not for the “Printed in Canada” line at the bottom of each card’s reverse.

What this means is that multiple players had cards from not one or two but THREE different countries in 1967, even if for most players the variation from card to card to card was fairly uninteresting. (And yes, this was true in 1966 and 1968 as well, bu my focus here is on 1967.)

To support your internationally diverse collecting interests I now bring you my final VEN diagram, one that will allow you to triple up on the cards of some of your favorite players. Among the 49 three-country sensations are these star players.

  • Orlando Cepeda
  • Al Kaline
  • Roger Maris
  • Tony Oliva
  • Don Drysdale
  • Luis Aparicio
  • Ron Santo
  • Frank Robinson
  • Willie Stargell
  • Steve Carlton
  • Mickey Mantle
  • Eddie Mathews

Aparicio collectors, it should be noted, can score the four-point play by adding his Winter League card to their binders also. (Ditto, Vic Davalillo.) And of course Ford collectors just miss the cut but can still rep all three countries by “settling for” his Retirado card as the Venezuelan piece of the trio.

Of course I know some of you will not be satisfied even with a three-country collection and are demanding four! Well, good news! I’ve also crosswalked the 1967 U.S., Venezuelan, and Canadian sets with the 1967 Kabaya-Leaf cards out of Japan, and I did manage to find a single hit…as long as you’re okay with the “Japanese Mickey Mantle!”

DiMaggio’s really long streak

I ended my previous post with the teaser that neither the 1961 Topps “Baseball Thrills” subset nor its 2010 reboot, much less its 1959 precursor, included what I had grown up understanding to be the most incredible baseball feat of them all.

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!

1942-1951

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.

1952-1961

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.

1962-1971

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.

To the delight of eagle-eyed collectors in 1970, the Yankee Clipper did make a cameo on the Oakland Athletics team card. However, I am not among the Hobby contingent that regards team cards as player cards, meaning I personally don’t treat this as a Joe DiMaggio card.


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.

1972-1979

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.

1980-present

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.

Contrast this with the 1985 Topps/Circle K “All-Time Home Run Kings” box set, where the Yankee Clipper was represented OBO (“on box only”). On the bright side for Lee May collectors, DiMaggio’s hard pass on the set is likely what got May in, since 33 cards was a much more typical number for sets than 34.

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!

Nine cards for #9

The great Minnie Miñoso would’ve turned 94 today. Or judging from some of his baseball cards either 95, 96 or 97.

But regardless of how old he really was, he was a very important player in baseball history, worthy of the Hall of Fame for his tremendous career as well as his role as a pioneer for black Latinos. So let’s celebrate the Cuban Comet with nine of my favorite Miñoso cards.

1945-46 Caramelo Deportivo [Sporting Caramels] Cuban League

This is my baseball card Holy Grail; the one Miñoso card in this post which I do not yet own. They do pop up once in a while, though with a price tag in the $350-$500 range even for something in the 2-3 grade range. Either way, these 1-7/8″ by 2-5/8″ black & white cards were printed on a very thin stock and were intended to be pasted into a collector album. So even when you find one of these, there will likely be a chunk of the back gouged out (this won’t be the first time you read about this here).

On the front of the card, there’s a thin white border with a photo and a small circled number. That’s so you knew where to paste the card in the album. Fun fact about these: the Caramelo Deportivo sets are the only cards I’ve seen of Minnie (Miñoso was featured in the 1945-46, 1946-47 & 1947-48 sets) where he’s sporting a mustache, though a thin one at that.

1952 Topps

The first installment of its “flagship” set, Topps has what is considered Minnie’s “Rookie Card” even though he has earlier cardboard appearances (see above). The front of the card lists his name as Orestes, as does his facsimile autograph. Missing here is the trademark straight-edge under the signature, as was his custom years later.

The back of the card does refer to him as “Minnie” even here for 1952.

1952 Red Man Tobacco

From 1952-55, Red Man Tobacco issued these colorful 3-1/2″ square cards (they originally came with another half-inch tab at the bottom), bringing cards and tobacco products back together again as they were with the 19th century & early 20th century sets. Everything you want is on the front here. The back of the card is just an advertisement of the set itself with an offer to collect 50 of the tabs and send them in for a baseball cap. Apparently, that’s what the original owner of my card did.

1952 Berk Ross

At only 2″ by 3″ this qualifies as a Mini Miñoso. There’s not much to it; the back of the card boasts “Hit Parade of Champions” with a brief bio and a few statistics. These cards have a sort of primitive charm to them. The printing is a little off, the centering also not quite right, and there’s little nubs on each edge as if they were part of a perforated strip. I got this card at a good price probably because somebody’s name is stamped on the back.

1954 Dixie Lids


65 years ago, somebody enjoyed a cup of ice cream and when they removed the lid, there was “Minny” Miñoso. If there’s another card of him listed as Minny, I’m not aware of it. These lids advertise the Dixie Lid 3-D Starviewer; all you need to do is send 25 cents, this lid, name and address to the company. Personally, I’d much rather have this lid than the Starviewer, even if it looks like quite a contraption.

1962 Topps Baseball Bucks

Minnie Miñoso played only 39 games for the St. Louis Cardinals, but it was long enough to get his face on a one-dollar 4-1/8 inch by 1-3/4 inch “Baseball Buck.” Sure, Henry Aaron and Roberto Clemente were on $5 bills and Willie Mays & Mickey Mantle were on $10 bills, but there’s nothing wrong with being on a $1. George Washington is on the $1 and that’s good enough for me.

1967 Venezuelan Retirado


These are TOUGH to find, particularly in good condition, because just like the Caramelo Deportivo cards I mentioned earlier, these were glued (or stuck in some way) inside collector albums, evidenced by the chunk of the back of my card that was torn off. Other than that, this might be my favorite Minnie card.

First of all, I had never even heard of this set before stumbling upon it. It’s pretty rare and it came from another country. I love the beautiful shade of blue as a plain background for the player image, which might not be a surprise to those who read my post on the 2010 Tristar Obak cards.

Editor’s note: This subset of 49 retired baseball players and one who would still be active in 1980 😃 was part of a larger Venezuelan release popularly known as 1967 Topps Venezuelan. However, there is some reason to believe these cards were not produced by Topps at all.

1984 True Value White Sox, 1986-89 Coca-Cola White Sox

I’m counting these five team issue cards as one card, since I make the rules. The first from the 1984 True Value team set, which Jason will certainly find more appealing than the 1986 Coca-Cola card (even though it’s the same photo used) because of the large BORDER. The Blue-bordered 1987 Coca-Cola card also shows the same photo as the red-bordered 1988 Coca-Cola card. Then there’s the obnoxiously-bordered 1989 card.

What’s my point? Well, the White Sox were still including Minnie Miñoso in team-issue sets even though he last played in 1980 (even though there were attempts to get him into a game in 1990 as well as 1993). And that means something. He’s Mr. White Sox. An iconic player in franchise history, as well as baseball history.

2015 White Sox tribute

This card was given out to attendees of Minnie’s memorial service at Holy Family Church in March 2015. It’s nicely done in the 1964 Topps style with red lettering instead of the light blue used in the original set. Plus, the #9 memorial logo is shown in the upper left corner.

Nine (okay, thirteen) cards of one man, spanning over 70 years. An amazing man. An amazing life. And about one year from now, we’ll hopefully be celebrating his election to the Hall of Fame on the Golden Era ballot.

Editor’s note: Chris delivered a terrific presentation on Minnie’s Hall of Fame case at a 2019 SABR Chicago chapter meeting. His presentation begins around the 19:00 mark of this video.

A Trip Down Memory Lane (Field)

With SABR 49 about to unfold in beautiful San Diego, I offer a look at Padres’ cards from the Pacific Coast League era, which ends with the formation of the Major League Padres in 1969.

The original Hollywood Stars moved to San Diego in 1936. The city fathers constructed a wooden ballpark, Lane Field, near the train station on the water front.  From there, the team would move into the Mission Valley in 1958 to play at Westgate Park and, finally, San Diego Stadium in 1968.

According to PCL historian, collector and dealer Mark MacRae, the first set of Padres collectibles were team issued photos in 1947.  However, this set does not show up in the Standard Catalog of Vintage Baseball Cards.  This publicity photo of manager “Ripper” Collins from 1947 may be an example, but I’m by no means certain.

Two years later, Bowman issues a PCL set in the same format as their MLB cards.  The small, square cards were issued in packs with a total of 32 in the set.  The five Padres players are Xavier Rescigno (pictured), John Jensen, Pete Coscavart, Lee Handley and Tom Seats.  The cards were issued as reprint set in 1987 by the Card Collectors Company.  The reprints are distinguished by wider, white borders.

Bowman wasn’t the only company to issue PCL cards in 1949.  The Hage’s Dairy company begins a three- year run with a 107-card set-with at least 26 different Padres.  This initial set and the subsequent issues are filled with variation cards.  Some players have up to four different poses. They were distributed in boxes of popcorn at Lane Field.  Cards were added or removed when the rosters changed. The 1951 cards come in four different tones: sepia, blue, green and black-and-white.  This set includes Luke Easter, manager Bucky Harris and John Ritchey, who broke the PCL color barrier in 1948.

Incidentally, the Bowman cards used many of the same photographs as Hage’s.  For example, Bowman simply cropped this photo of John Jensen. 

Hage’s comes back in 1950 with a 122-card set that has at least 28 Padres. This time, all the cards are black-and-white. Also, Hage’s ice cream is advertised on the back.  This set has manager Jimmy Reese as well as two variations of Orestes “Minnie” Minoso.  Among other recognizable names are: Al Smith (famous for having beer poured on his head by fan in ’59 World Series), Harry “Suitcase” Simpson, and Tom Tresh’s dad, Mike.

In 1951, Hage’s produces a much reduced 54-card set, with all but 12 of them being Padres. The other cards are comprised of seven Cleveland Indians and five Hollywood Stars. They were printed in the following tints: blue, green, burgundy, gold, gray and sepia.  Harry Malmberg is an example of the many photo variations.  The two cards above are both from 1951.  Some familiar names in this set are Ray Boone, Luke Easter and “Sad” Sam Jones.

Like an ice cream bar left in the warm California sun, Hage’s Dairy cards melted away in 1952, leaving Globe Printing as the card producer for the Padres.  This 18-card, black-and-white set features manager Lefty O’Doul, coach Jimmy Reese, Memo Luna and Herb Gorman.  I’m not sure how the cards were distributed.

1952 is a big PCL card year-due to the introduction of the fabulous Mother’s Cookies set.  The 64-card set was distributed in packages of cookies on the West Coast.  Padres’ manager, Lefty O’Doul, has on a beautiful satin jacket in his photo.  Some of the recognizable players include Memo Luna, “Whitey” Wietlemann and “Red” Embree.

Mother’s Cookies returns with a 63-card set in 1954.  Of the seven Padres in the set, the most interesting is Tom Alston.  He would integrate the St. Louis Cardinals in 1954 after being purchased for $100,000. Unfortunately, mental illness ended his promising career in 1957. Also, Lefty O’Doul is back, and former MLB player Earl Rapp has a card.

I was unable to locate any evidence of Padres cards from 1953-60, but in 1961 the fantastic Union Oil set showed up at West Coast 76 stations. The sepia tone cards measure 3”X 4” and featured 12 Padres. Among the players available are: Herb Score, Harry “Suitcase” Simpson, Mike Hershberger and Dick Lines.

The Major League Padres arrive in 1969, but cards from the PCL era would emerge in retrospective sets. In 1974, PCL historian and fan, Ed Broder, self-produced a 253-card set, modeled after the Seattle Rainiers popcorn cards. He used players from 1957-58.  There are 31 Padres cards in the set, including future Seattle Pilot, Gary “Ding Dong” Bell, Bob Dipietro, and Jim “Mudcat” Grant.

Another retro set was produced by TCMA in 1975.  The 18-card set has PCL players from the mid-1950s, one of which is Padre Cal McLish. The cards are “tallboy” size-like early 1970s Topps basketball.

In recent years, the late Carl Aldana self-produced several Padres cards in the Mother’s Cookies format.  The players he chose are: Ted Williams, Luke Easter, Max West, Al Smith and Jack Graham.

Please let me know if there are other years that PCL Padres cards were produced or if you have a 1947 team issued photo. 

SABR convention goers will assemble at glitzy Petco Park for a Padres game against the Cardinals. Not too far away, a humbler structure once stood, Lane Field.  Though small and termite infested, it was “big time” to fans in a simpler era with limited entertainment options.

At the game, I plan to buy a box of popcorn to see if a Hage’s Dairy Memo Luna card was magically inserted amongst the kernels.